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X-FILES: Creator Chris Carter X-p 


Spiner confesses: 

«1 am not now nor have 

I ever been a STAR 
TREK fan!" j 



John de Lancie's legends 

SPACE: 1999 
20 years of SF adventure 

ram Hanks Virtual sexuality 

as Woody & Tim ' 
as Buzz Lighty 


first all- 

< = 




o E 

^^* — 

CD — 

— o 

CO —— 











fl stellar collection oF rare STAR TREK memorabilia, 

Have you ever wished you could talk to Gene 
Roddenberry? now you've yotthe chance. 

Just take a seat 

#& s 

fc ' 


in the captain's 




chair and 




I fa. 



joins yoo on- 

screen Fnr an interactive, Quicktime™ 

interview. He'll reveal the answers to a 

galaxy oF intriguing questions as he shares 
his visioo and his genius. This up close 
and personal interview, never before 
been seen in the U.S., is a must For all 

serious collectors! 

Leonard Mmog hosts this multimedia 
Collector's Edition and narrates the Full- 
motion video "making oF BTRR TREK: 

Judgment Rites." This behind-the-scenes 
look oFFers a unique and Fascinating 
opportunity tu witness the evolution oF 
this epic CD-R0IB adventure yame. 

In addition, sitting in Speck's chair will 
activate an all new interview, also 
previously unseen in the U.S. Using an 
interactive Format, you ask all the ques- 

tions and Leonard 
nimoy has all the 
ansuiers...just as 
gou'd expect From 

the venerable Volcan. 

The Five gear mission continues with eight 
STAR TREK: Judgment Rites episodes. This 
time you are in enmmand. But, there is one 
problem — you are beiny matched. By 
whom and by what you 

do not know. 

Even Spnck can not accurately process 
these strange occurrences. Is that truly 


an ancient lull triplane 
heading straight Fnr gnu 

at Warp 3 speed? Coold it be Trelaoe? 
How coold yoor sensors suddenlg report 
life Forms on a dead planet? Where did 
that primitive race get such advanced 
technology? It cooldn't be Dr. Bredell 
and the Vardaines...or could it? 

Bame play is enhanced with Z CD-Ms 
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IRVINE, CA 92714 
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Beam up to Interplay's out oF this uiorld Ulebsite at 

STAR TREK 1 " and © 1995 Paramount Pfclures. All Rigj 
STAR TREK and related Marks are trademarks of Poramouut Retorts. Software Code © 1W5 bnub, ttt^tm MM* 



packaged'witlt a spectacular CD-ROul adventure game. 


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pressible personalities oF IDcCog™, 

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you'll smear you've been beamed into the 
continuation oF the original Five-year mission. 

STAR TREK: Judgment Rites Limited 
Collector's Edition is a multimedia treasore 
For any STAR TREK Fan or adventore game 

enthusiast. In addition l|^^p^^ 

to the Roddenberry and 1 

k, ■ 

flimog interviews and 


host oF other rare or 


unseen memorabilia. ^Br 


uie've included a copg 
oF the most popular episode oF the STAR 
TREK TV series, "Citg on the Edge oF 
Forever," co-starring Joan Collins. 

Rnd, as an extra bonus, you'll get one 
oF our eight original 5TRR TREK: 

Judgment Rites 

T RE 111 one 

exclusively For the Collector's 
Edition, you won't Find them 
anywhere else! 

STRR TREK: Judgment Rites 
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is more than a unique and original 
multimedia presentation — it is a part 
oF the continuing legacy From the yreatest 
epic adventure oF our lifetime. Don't 
miss yoor chance to own a piece oF 
5TRR TREK history! 

cloisonne pins. These bold and colorFul 
pins are custom designed 
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Actual design of cloisonne pin may vary. 




' He is not now nor has 
he ever been a Star Trek 


Creator Chris Carter keeps 
opening even more X-Files 


John de Lancie grapples 
with the reasons why 


It's history's first computer- 
generated animation epic 

STARLOG-. The Science 
Fiction Universe is pub- 
lished monthly by STAR- 
LOG CROUP, INC., 475 Park 

Avenue south, New York, 
NY 10016. STARLOG and The 
Science Fiction Universe are 
registered trademarks of 
Starlog Group, Inc. (ISSN 0191- 
4626) (Canadian GST number-. R- 
124704826) This is issue Number 
221, December 1995. Content is© , 
Copyright 1995 by STARLOC GROUP, ■ 
INC. All rights reserved. Reprint or % 
reproduction in part or in whole 
without the publishers' written per- 
mission is strictly forbidden. STARLOG .^ft 
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ucts advertised are not necessarily endorsed 
by STARLOG, and views expressed in editorial 
copy are not necessarily those of STARLOG. 
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Twenty years later, Barry 
Morse recalls Space: 1999 


Cindy Cibb may never tire of 
playing Deadly Games 


Caroline John also found 
adventure with the Doctor 


Writing is Maya Kaathryn 
Bohnhoff's mission on Earth 


Craig Bierko & Jane Leeves 
headed this Red Dwarf 


Cybersex adds the spice to 
this upcoming hi-tech thriller 


Kristian schmid rep- 
resents new hope 
for humanity 

Using computer 
Disney & Pixar 
unite to tell a 
Toy Story (see 
page 38). 

vm\u we uowge! 


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DECEMBER 1995 #221 

Business & Editorial Offices: 

475 Park Avenue South 
New York, NY 10016 



Executive Vice President 


Associate Publisher 


V.P./Circulation Director 


Executive Art Director 




Managing Editors 


Special Effects Editor 


Contributing Editors 






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West Coast correspondents 



Financial Director: Joan Baetz 
Marketing Director: Frank M. Rosner 
Circulation Manager: Maria Damiani 
Typesetters: Jean E. Krevor, AM Lemer 
Staff: Kim Lampariello, Debbie Irwin, Dee Erwine, 
Katharine Repole. Jose Soto, Michael Updegraff. 
Correspondents: (West Coastl Bill Florence, Pat 
Jankiewicz, Jean-Marc & Randy Lofficier; (NY) David 
Hirsch, Michael McAvennie, Joe Nazzaro, Ian Spelling, 
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Howard Johnson; (Boston) Will Murray; (VA) Lynne 
Stephens; (NM) Craig Chrissinger; (FD Bill Wilson; (WV) 
John Sayers; (Canada) Peter Bloch-Hansen, Mark 
Phillips; (England) Stan Nicholls; (inter) George 
Kochell, Michael Wolff; (Cartoon) Kevin Brockschmidt, 
Bob Muleady, Mike Wright; (Booklog) Scott W. Schu- 

Contributors: Craig Bierko, Maya Kaathryn Bohnoff, 
Chris Carter, Susan Ciccone, John de Lancie, Steven 
Eramo, Terry Erdmann, Cindy Gibb, Howard Green, 
Neil Gustavson, John S. Hall, Matt Hawkins, Tom 
Holtkamp, Caroline John, Penny Kenny, Fumi Kita- 
hara, John Lasseter, Jane Leeves, Barry Morse, Tom 
Phillips, W.C. Pope, Shannon Ryan, Kristian Schmid, 
Brent Spiner, James Swallow, Darcy Sullivan, Guy Var- 
daman, John Vester, Jeff Walker, Sharon Williams. 
Cover Photos: Toy Story: Copyright 1995 The Walt 
Disney Company; Brent Spiner/Generations: Copy- 
right 1994 Paramount Pictures. 

For Advertising Information: 

(212) 689-2830. FAX (212) 889-7933 

Advertising Director: Rita Eisenstein 

Classified Ads Manager: Tim Clark 

For Advertising Sales: The Faust Company, 

24050 Madison St. Suite 101, Torrance, CA 90505 


Richard Hatch returns to Galactica coun- 
try as a writer. He'll script the next mini- 
series installment of Maximum Press" 
Battlestar Galactica comic (STARLOG 
#220). Hatch's story arc will premiere in 

Comics Scene: Terminator 2 encores 
with two new mini-series from Malibu. due 
out this month. They're Terminator 2: Pre- 
sent War— Cybernetic Dawn and Terminator 
2: Future War— Future War. 

Desperado director Robert Rodriguez 
and actor Antonio Banderas will reteam on 
Amblin/TriStar's long-in-development 
Zorro. Previous directors attached include 
Mikael (cinematographer of The Abyss) 
Salomon and Brad {Casper) Silberling. 
Rodriguez may work on the Ted Elliott/Terry 
Rossio script. 

The once-dead movie based on The 
Phantom got resurrected. It's now shooting 
on locations including Thailand, Australia 
and the U.S. Billy Zane plays the Ghost Who 
Walks, with Kristy (Buffy the Vampre Slayer) 
Swanson as his gal pal Diana Palmer. The 
Jeffrey Boam script, developed for the 
Joe Dante Phantom that didn't go for- 
ward last year, is being used. 

Updates: Screamers, the new SF 
adventure starring Peter Weller. has shift- 
ed release dates. Due out last month, it'll 
premiere in January instead. 

John Frankenheimer has indeed taken 
over directing The Island of Doctor 
Moreau. Rob Morrow has also left the 
production, to be replaced by David 
Thewlis. Moreau remains a summer 
1996 release. 

Kevin Kline voices Quasimodo in 
Disney's Hunchback of Notre Dame. 

The name of the song parody Bob & 
Linda Picardo sang on SeaTrek '95 was 
mischaracterized in STARLOG #219. It 
was "I Had You Babe.'" 

Patrick Stewart opened on Broadway 
October 10 at the Broadhurst Theatre in 
director George C. Wolfe's version of 
Shakespeare's The Tempest. The produc- 
tion, which played this summer in New 
York's Central Park as part of the Shake- 
speare in the Park festival, has moved to 
Broadway for a projected 12-week run. 

Genre TV: At presstime. The 
Invaders mini-series starring Scott Baku- 
la and Roy Thinnes (once again playing 
David Vincent) has been scheduled to air 
November 12 & 14 on Fox. Watch for an 
insider's look at its making next issue. 

The classic Lights Out anthology gets TV 
movie/pilot treatment via NBC. Mick Garris 
and John McTiernan will direct the seg- 

Joe Dante is shooting a new SF TV 
movie/pilot project at Paramount for CBS. 
It's The Osiris Chronicles. Novelist Caleb 
Carr wrote the script. 

Look for Jem Herein. the dead "Deep 
Throat." to re-appear at ieasi once more on 
The X-Files this ; . 

No longer in production- TekWar has 
moved from the USA Network hi its sister 
service, the Sci-Fi Channel. The series pre- 
miered on Sci-Fi in late September v% ith the 
broadcast of four previously unaired 

Fantasy Films: Phil Kaufman— who 
helmed the 1978 Invasion of the Body 
Snatchers remake — will direct the movie 
version of Caleb Carr's detective thriller The 

Ridley Scott will return to SF with 
Metropolis (which is not a remake of the 
Fritz Lang classic, it's just using the same 
title). Corey Mandel is writing. Scott, who 
was mulling the possibility, has decided 
against doing a Blade Runner sequel. 

Cocoon producers Richard and Lili 
Zanuck have acquired an original SF/fantasy 
screenplay. When Heroes Go Down, by 
Gregg Chabot and Kevin Peterka. It involves 
a firefighter in a future world of dragons. 

The Jetsons is inching closer to live- 
action life. There's a script by Ed Wood writ- 
ers Scott Alexander and Larry Karaszewski. 
Charles (The Mask) Russell may direct. 

Character Castings: Genre veterans 
Corev (Young Indiana Jones) Carrier 


Bruce Willis is the man with 12 Monkeys on his 
mind in fantasy filmmaker Terry Gilliam's latest 
project, which opens next month. 

(STARLOG #183), Bebe Neuwirth. Rob 
(Judge Dredd) Schneider and Genevieve 
Bujold have joined the cast of Carlo Collo- 
di's Pinocchio. Martin Landau is Gepetto in 
this live-action movie adaptation of Collodi's 
tale. Jonathan Taylor Thomas is the puppet 
who becomes a boy. Bujold is Gepetto's lost 
love, while Schneider and Neuwirth are bad 

Disney will distribute the live-action 
movie version of The Wind in the Willows. 

6 STARLOG/Deceniber 1995 

Fans may recall Disney did a brief animated 
adaptation decades ago of the Kenneth Gra- 
hame children's fantasy. Monty Python's 
Tern' Jones, a faerie tale expert, will direct 
and play Toad of Toad Hall. Eric Idle is Rat. 


All dates are extremely subject to 
change. Movies deemed especially 
tentative are denoted by asterisks. 

X-Mas: Toy Story. Jumanji, The Nutty 
Professor*. Mary Reilly, Twelve Monkeys. 

Spring 1996: The Muppet Treasure 
Island. Biodome. 

Summer 1996: The Hunchback of 
Notre Dame, Dragonheart . Independence 
Day. Space Jam, Spawn, Speed Racer*. 
Twister, Multiplicity. Carlo Collodi's 
Pinocchio, Mission: Impossible . Thinner. 

X-Mas 1996: 101 Dalmatians (live- 

1997: Star Wars: Special Edition. 
Mars Attacks . 

Fellow Pythons John Cleese and Michael . 
Palin will cameo. 

Providing the voice of the animated Anas- 
tasia in Don Bluth's newest feature is Meg 

Mario Van Peebles is another kind of Ter- 
minator in Solo. William Sadler — so memo- 

rable as Death in Bill & Ted's Bogus Jour- 
ney — co-stars. 

What's upcoming for Jean-Claude Van 
Damme? Perhaps a fight in Tibet with that 
legendary Snowman. Van Damme may star 
in Abominable, scripted by Troy Neighbors 
and Steven Fienberg (who previously teamed 
on Fortress). 

Sylvia Sidney, a bureaucrat of the after- 
life in Tim Burton's Beetlejuice, will reunite 
with Burton in Mars Attacks! That alien 
invasion film won't, by the way, be coming 
out next summer after all. It's targeted for 
Christinas 1996 or summer 1997. 

Jodie Foster has finally, officially, joined 
the cast of the film version of Carl Sagan's 
Contact. George Miller is 

Vincent (Ed Wood) 
D'Onofrio will play 
Conan creator Robert E. 
Howard in The Whole 
Wide World — an examina- 
tion of his relationship 
with Novalyne Price Ellis 
(Renee Zellweger). 

Sequels: Beastmaster 
3, once again starring 
Marc Singer, emerges on 
video from Universal 
Home Video next month. 
It'll air on television as 
part of the syndicated Uni- 
versal Action Pack next 

The Dark Knight is headed back to the- 
ater screens a bit more rapidly this time. 
Akiva Goldsman has begun scripting the 
fourth Batman film, which Joel Schumacher 
will once again direct. Shooting is slated to 
begin in fall 1996 for a summer 1997 debut. 
Val Kilmer. Chris O'Donnell, Michael 
Gough and Pat Hingle are expected to reprise 
their roles (i.e. Batman, Robin. Alfred, Com- 
missioner Gordon). Villains under considera- 
tion include the Mad Hatter. Poison Ivy 
(Demi Moore, Julia Roberts. Sandra Bullock 
or someone else?) and Mr. Freeze (Patrick 
Stewart or whomever). But why aren't they 
also talking about the Ventriloquist? 

—David McDonnell 

g "'a^fa'.i'-jJBfe for ? ( 
Eliillv iifWii'jIi, *J «yw 
^injjmite'4 filnijtluy in 
I Vsv-i-ma iim nionib, 

EJriji'j your own doy 

It's Here 300 Years Early! 

The Limited Edition TR-107 TRICORDER™ Mark 1 - / 


Introducing the world's first piece of Official STAR TREK 8 
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predecessor to the TRICORDER Mark 7 used in the STAR TREK 8 
THE NEXT GENERATION™ television series. 

Accurately senses: 

• atmospheric temperature and 
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• location and strength of 
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• over 16 million colors in 
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applications, including 
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• Stardate clock and timer 

Verified STAR FLEET™ 
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e chnologi, 

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A P O R A T I 

Created by Vital Technologies Corporation, world-recognized leaders in UV and EMF sensing devices, and the first licensees of Official STAR TREK* Technology. 
1995 Vital Technologies Corporation. Used Under License. STAR TREK and Related Marks are Trademarks of Paramount Pictures. £ 1995 Paramount Pictures. All Rights Reserved. 

ontinues w 


Fresh from its early-summer theatrical run. 
Batman Forever is now a sell-through- 
priced videocassette— only $19.96 — from 
Warner Home Video. The widescreen 
laserdisc with AC-3 Dolby Digital Surround 
sound retails for S39.98 in CLV. 

MGM/UA Home Video is exploiting the 
storm of hype engineered for James Bond's 
theatrical return by re-packaging the classic 
007 adventures in a variety of VHS boxed 
sets. Volume one contains Dr. No, From Rus- 
sia With Love. Goldfmger and the exclusive 
bonus cassette ""Behind the Scenes with 
Goldfinger." Volume two contains Thunder- 





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inal Battle. 

ball. You Only Live Twice, Diamonds Are 
Forever and another bonus cassette. "'Behind 
the Scenes with Thunderbolt." There's also a 
deluxe-edition boxed set which wraps up all 
six Sean Connery outings as the intrepid 
superspy. includes both behind-the-scenes 
cassettes and can be had in either full 
widescreen or pan & scan. Volumes one and 
two are priced at S44.92 each, while the Con- 
nery set is tagged at S89.92. All titles in the 
series can be purchased separately for $14.95 
each in VHS. pan & scan only. 

The true Bond aficionado should watch 
for special laserdisc editions of Goldfinger 
and Thunderball. Each has been digitally 
transferred from original negatives and pro- 
duced under the auspices of the THX 
laserdisc program. Presented in widescreen 
and CAV format, the albums include original 
theatrical trailers, behind-the-scenes-footage 
and interviews with the creative teams. These 
super-deluxe editions are priced at S99.95 
from MGM/UA Home Video. 

Though ostensibly a remake of the 1960 
British SF-thriller of the same name, director 
John Carpenter adheres more closely to John 
Wyndham's original 1957 novel, The Mid- 
wich Cuckoos, in his Village of the Damned, 
even using dialogue directly from the book. 
Christopher Reeve and Kirstie Alley star 
with Michael Pare and Mark Hamill. Special 
FX are by Industrial Light & Magic. The 
MCA/Universal videocassette is priced for 
rental right now. but the laserdisc edition is 
only $34.98 in CLV. Other Carpenter films 
that have been newly repackaged are The 
Thing (S19.98). They Live (S19.98) and 
Prince of Darkness ($14.95). 

Zachery Ty Bryan and seaOuest's 
Edward Kerr appear in Magic Island (SF 
EXPLORER #7), one of a series of juvenile 
fantasies produced by Charles Band for the 
direct-to-video market. It's priced for rental 
only from Paramount Home Video. 

Television: BBC Video and CBS/Fox are 
continuing to please fans with their latest 
release of six titles in the classic Doctor Who 
video collection. The newest stories are: 
"Time and the Rani." ""Curse of Peladon." 
""Seeds of Doom. Parts 1 & 2," '"Arc of Infin- 
ity" and "Inferno." In addition, there is an 87- 
minute documentary. "More Than 30 Years 

in the 7.-.: ' -' "'s 

remarkable time-oarefiBS aaa 

dozens of classic excerpts en 

Doctors, clips firoo > 

the two Dalek movies ma a - 

covered material. AD video Kfca>e> are 

priced at S19.98 each evcej ■fcmo." 
which is a double-casser.; 
are in VHS only. 

The dramatic conclusk* me or the 
most popular mini-series ever. ': The 
Final Battle is out on Warner 1 toe Video in 
two editions: a three-., ssettc d play 

version and a single-cassette extended play 
version. The cast includes Marc Singer. Faye 
Grant and Robert Englund. 

Laserdisc: Shot in Czechoslovokia. Min- 
nesota and Universal Studios, the n er- 
sion of author Kurt Vonnegut's SF be- : 
Slaughterhouse Five received little notice 
when it debuted in 1972. Over the years, its 
bizarre, dreamlike qualities have attracted a 
loyal following, and now there's a new 
widescreen laserdisc from MCA Home 
Video, S34.98 CLV. Directed by George Roy- 
Hill and adapted by Stephen Geller, the film 
stars Michael Sacks. Valerie Perrine. Eugene 
Roche and Ron Liebman. 

Columbia TriStar is continuing its series 
of Ray Harryhausen adventures with Jason 
and the Argonauts. Mysterious Island and 
Three Worlds of Gulliver. All are in CLV. fea- 
ture scores by Bernard Herrmann and are 
priced at S34.95 each. 

Image Entertainment has paired John 
Barrymore's bravura performance in the 
1920 silent version of Dr. Jekyll and Mr. 
Hyde with an even earlier 1911 one-reel ver- 
sion starring James Cruze on a newly 
released laserdisc, S39.95. And while you're 
browsing the rich Image catalog, you should 
also note that they've recently remastered the 
famous 1942 Zoltan Korda telling of Jungle 
Book ($39.95) which features Miklos 
Rozsa's well-known score. 

Another classic from MGM/UA is the 
new digital transfer of Tarzan. the Ape Man 
(1932), directed by W. S. Van Dyke and star- 
ring Johnny Weissmuller and Maureen 
O' Sullivan. The original theatrical trailer is 
included, all for only $34.95 in CLV. 

Animation: Disney's animated spring 
theatrical release, A Goofy Movie, is now 
sell-through priced at $22.99 in VHS only. 
Created largely in Disney's Paris studio, A 
Goofy Movie is basically a roadtrip/coming- 
of-age saga between father and son. Though 
Goofy has been a mainstay of the Disney 
character team for the past 60 years, this is 
his first starring role in a full-length feature. 

We're Back!, the animated version of 
illustrator Hudson Talbott's dinosaur stories, 
has been reduced to $14.98 in VHS from 
MCA/Universal Home Video. 

Coming Attractions: The Indian in the 
Cupboard will be sell-through priced after 
Christmas, and a new deluxe, archival 
laserdisc of John Carpenter's The Thing is in 
the works, complete with audio commentary 
and a host of never-before-seen behind-the- 
scenes stills and videos. 

—David Hutchison 

THE official 



with exclusive 
Interviews, both 
with stars and the 
creators, writers, 
designers and 


episode synopses, 
dozens of color 
photos. Newsmag- 
azine size, printed 
on high-quality, 
all-slick paper. 




-Trademarks of Paramount Pictures. 




r^&^g mrm 

Paul Dooley 

[Space station 
reports from 

| Michael Piller speaks: 


Inside "Heroes 
and Demons" 
The Doctor as I 





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In the year 3057. warring clans' bitter 
infighting perpetuates a universal unrest, 
where war is constant, victory is temporary 
and cease-fire is non-existent. It's the world 
of the MechWarriors. and the game is Acti- 
Vision's MechWarrior 2 ($59.99). This 31st- 
centurv combat same, designed for IBM CD- 

puter's. not yours): otherwise, you'll find 
your MechWarrior awfully sluggish. 

There are some warriors who prefer to do 
their fighting in the 16-bit field, so ActiVi- 
sion has come up with MechWarrior 3050 
(price unavailable at presstime) for the Super 
Nintendo system. Formerly referred to as 
BattleTech. this cart is based on the popular 
FASA BattleTech Universe. You're in the 
pilot's seat of a seven-story. 75-ton "Madcat" 
Heavy OmniMech. armed with nine cus- 
tomized weapon systems, and boy, are you 
gonna need 'em as you go head-to-head with 


ROM. puts you back in the driver's seat of 
one of 15 BattleMechs (which are customiz- 
able with more than 20 unique weapons sys- 
tems); of course, being in a BattleMech and 
mastering one are two totally different 

There are dozens of missions in Mech- 
Warrior 2, but your main mission is to live to 
fight another day. Stepping into the 3-D vir- 
tual cockpit of your chosen MechWarrior. 
you can leap into instant action or advance 
through a complete MechWarrior career. 
You'll visit various interplanetary landscapes 
and duke it out in 'Mech vs. 'Mech combat. 
Victory allows you to upgrade your 'Mech. 
while defeat... well, let's just say it'll be your 
chance to get away from it all— forever . 

Cool MechWarrior 2 graphics and audio 
include a video intro by Digital Domain, a 
high-res animated shell, texture-mapped 3-D 
objects and SFX by Soundelux. all designed 
to help draw you into realtime battle. In addi- 
tion, players can gear themselves for head- 
to-head scenarios via modem or network, as 
an upcoming multi-player version of the 
game will allow up to eight-player LAN 
combat— individual and teams. The boxed 
set comes complete with game CD-ROM. an 
installation guide booklet and the 74-page 
"Codes and Procedures of the Warrior 
Caste." Just keep in mind, though, that get- 
ting your BattleMech on the playing field 
requires a great deal of memory (your com- 

the Inner Sphere army! You see, there are 
five levels of combat (which does come off a 
little short once you've mastered the game) 
in which you travel to different planets and 
encounter a new fleet and style of enemy 

MechWarrior 3050 offers combat ahead of its time. 

'Mechs, each more dangerous than the last. 
Provided you survive, you then get to chal- 
lenge the ultimate nemesis one-on-one. (Oh. 

Again. MechWarrior 3050 may not hold 
vour attention for a Ions time, but it does a 

fair job in the time it does hold it. The sound 
and graphics are solid, and the high-speed 
gameplay is quite simple. The cart also offers 
a two-player cooperative playing option, in 
which one player directs the 'Meclrs feet 
while the other controls the torso. Overall. 
MechWarrior 3050 may not be ahead of its 
time in regard to video games, but it never- 
theless delivers. 

Card Combat: Of course, some people 
prefer their conflicts on paper— or in this 
case, on cards. And for fans of Decipher. 
Inc.'s Star Trek: The Next Generation Cus- 
tomizable Card Game, there's the new Offi- 
cial Player's Guide, from Brady Games 
(SI 4. 99). In addition to helping gamers both 
new and old organize and understand the 
game's concepts, the 272-page guide is the 
official Starfleet source for customizing 
effective decks, trading strategies and collec- 
tor information. The book also chronicles the 
game's making, as well as strategy for the 50 
most powerful cards (all of which are broken 
down into Artifacts, Dilemmas. Events, 
Interrupts. Ships and Personnel), powerful 
card combinations and extensive Q & A on 
the most common rules questions. And. as a 
special bonus, the Official Player's Guide to 
Star Trek: The Next Generation Customiz- 
able Card Game is also offering the Interrupt 
black border card, "Data Laughing." a very 
powerful and rare card which was taken from 
the show's "Deja Q" episode. The card is 
free, but available only through the guide. 

Unfortunately, some of you don't have 
the luxury of playing cards; in fact, all you do 
have is A Sense of Obligation: Starfleet Bat- 
tles Captain's Log #16. from Task Force 
Games (S 14.95). This 96-page module sets 
up an adventure where it's up to your ship to 
make a daring hostage rescue in Tholian 
space, though your Captain may have its own 
agenda on hand. Scenarios include stopping 
the Jindarians, intercepting a convoy, taking 
a Federation Mauler 
into a nest of Androme- 
dan vipers, hunting 
down the Klingon 
Siegebreaker and tack- 
ling a new threat called 
the Mulakee. 

Among other items, 
A Sense of Obligation 
also features the Cap- 
tain's seminar on X- 
ships and eight new 
ships, including four 
maulers. Fed ^DDX. 
Klingon D5XD and Jin- 
darian ship cruisers. 
The book represents 
Task Force Games' new 
expanded module for- 
mat (unfortunately, to 
go along with their new 
expanded prices), and, 
as always, requires the Starfleet Battles Basic 
Set. Some materials also require other SFB 
products, such as Federation & Empire; if 
you don't have 'em, your Sense of Obligation 
is bound to wane. 

—Michael McAvennie 

10 STARLOG/December 1995 

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Indistinguishable From Magic by Robert 
L. Forward (Baen, paperback, 372 pp. 


This revised version of Future Magic 
adds eight short stories to 
Robert L. Forward's collec- 
tion of speculative science 
essays; predictably the 
essays are more entertaining 
than the stories. Forward is 
a practicing physicist and 
his articles on antimatter, 
gravity control and space 
warps will delight readers 
tired of the superficial treat- 
ment of these ideas in most 
SF. Forward's nonfiction 
has clarity and enthusiasm, 
as well as skepticism for the 
more fantastic notions it 
touches. The essays are a 
must for any fan of hard SF. 

Fiction isn't Forward's 
strong suit, but some of the 
stories stand out. Forward's 
first try at SF, "The Singing 
Diamond." is a charming, 
low-key adventure, and 
"Fading into Blackness" is an effective treat- 
ment of an attractive premise— even if it 
does rely on the benevolence of billionaires. 
More ambitious tales like "Twin Paradox" 
show Forward's limitations, but the book as a 
whole is a fine testimony to his skills as a sci- 
ence writer and a disciplined dreamer. 

—Scott W. Schumack 

Testament by Valerie J. Freireich (Roc, 
paperback, 317 pp, $5.99) 

The Harmony of Worlds was the interstel- 
lar society introduced in Valerie J. Freireich's 
first novel, Becoming Human. The name 
"Harmony" seems quite ironic in her second 
book, considering the Harmony's hatred of 
anyone who doesn't fit its idea of "human." 
The settlers of the planet Testament are par- 
ticularly despised. Their ancestors used 
genetic engineering to produce generational 
memory linked to mitochondrial DNA: peo- 
ple inherit their mothers' memories, insuring 
a sort of immortality for women only. The 
result is a mystical matriarchy repugnant to 
the male-dominated, rationalistic Harmony. 

After a weak start, Testament becomes a 
gripping tale of personal and cultural con- 
flict. The hero. Gray Bridger. who longs to 
flee Testament, isn't too interesting, but his 
Machiavellian grandmother, his bitter sister, 
the woman possessed by ancestral memories 
he comes to love and the scientist/priest from 
the Harmony who is his friend and enemy are 
fascinating. The twisting plot follows them 
through seductions, deceptions and betrayals 
to a tragic, exhilarating ending with some- 
thing to say about the pain and joy of being 

— Scott W. Schumack 

New Legends edited by Greg Bear with 
Martin H. Greenberg (Tor, hardcover, 380 
pp, $22.95) 

Editors Greg Bear and Martin Greenberg 
have rounded up 15 impressive original SF 
short stories that have, as Bear points out in 
the introduction, "great soul." While the edi- 
tors claim to have been strict in enforcing 
their guidelines (no fantasy, only true SF, 
must be well-writ- 
ten), what finally 
went into print 
reflects the difficul- 
ty of defining sci- 
ence fiction at all. 

A few stories, 
notably "Scenes 
from a Future Mar- 
riage." by James 
Stevens-Arce. are 
essentially main- 
stream, with only 
some offstage SF 
elements thrown in, 
seemingly, to quali- 
fy it for inclusion. 

Robert Sheck- 
ley's quirky "The 
Day the Aliens 
Came" appears to 
have neither the 
"conceptual rigor of 
hard SF" nor "meta- 
phorical power and literary depth" that a 
cover blurb claims for the book. 

Gregory Benford's non-fictional essay 
"Old Legends" is distractingly anomalous 
among all the fiction, including his own 
remarkable "High Abyss." 

Paul J. McAuley's entrancing "Record- 
ing Angel" depicts a place so far removed 
and a technology so advanced that the dis- 
tinction between SF and fantasy grows 

But if these stories are from the thin, 
feathered edge of the SF portion of the liter- 
ary spectrum, then the rest of these excellent 


12 STARLOG/December 1995 

tales are from its very heart and soul. In fact, 
the final story, "Wang's Carpets" by Greg 
Egan, should be made required reading for 
all those who aspire to understand SF. In 
depicting the ultimate evolution of man and 
his quest to grasp the universe, it comments 
on today's issues as only SFcan. 

This anthology is a valuable prize for the 
serious SF reader. It's well worth the effort 
for those who want to dig deeper into the 
genre, but for those new to hard SF it won't 
be an easy first read. Among the best is Poul 
Anderson's "Scarecrow." It stands on its own 
merits, but a little knowledge of chaos theory 
and fractals opens added layers of beauty in 
the story's conclusion, like sunrise through a 
stained glass window. 

Despite its own claims as to what to 
expect inside, this anthology, like many, is 
mostly an indication of what the editors like. 
Obviously, these two gentlemen have great 

— John Wester 

Rock of Ages by Walter Jon Williams (Tor, 
hardcover. 288 pp, $21.95) 

The third Drake Maijstral novel is anoth- 
er comic adventure set in a futuristic inter- 
stellar culture that mixes the manners of the 
English Regency period with 20th-century 
media madness. 

Drake, the highest-rated Allowed Burglar 
in the Human Constellation, is sponging off 
wealthy friends while vacationing on Earth. 
When his aristocratic hosts are plagued with 
thefts. Drake protests his innocence, but soon 
he's being hounded by the police and chal- 
lenged to duels. There are also two marriage 
proposals, a faithful servant who's molting 
and Drake's dead father, who won't shut up. 
A suave swashbuckler to the public. Drake 
actually spends his time cringing in terror 
and scheming to save his hide and his luxuri- 
ous lifestyle. Things climax at Graceland. 
which has become a cross between Disney- 
land and the Vatican, with Elvis imperson- 
ators, two talking coffins and a huge, enraged 
alien disguised as children's TV puppet hero 
Ronnie Romper. 

Wry and witty, with a little satire for 
spice, this book would be best appreciated by 
those who've read The Crown Jewels and 
House of Shards. 

— Scott W. Schumack 

Full Spectrum 5, edited by Jennifer Her- 
shey, Tom Dupree & Janna Silverstein 
(Bantam/Spectra, trade paperback, 496 
pp. $14.95) 

Among the standouts in this fine original 
anthology are Karawynn Long's touching 
and pointed examination of genetic engineer- 
ing and "normalcy." "Of Silence and Slow 
Time." and two stories on the nature of 
humanity: William Barton's sensual yarn of 
bio-engineered astronauts. "When a Man's 
an Empty Kettle." and Jean Mark Gawron's 
dazzling artificial intelligence myth, "Tale of 
the Blue Spruce Dreaming (Or. How to Be 

Despite the emphasis on SF. there are 
excellent fantasies, like Michael Gust's "A 

Testament Art: John Jude Palencar 

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Belly Full of Stars,'" and Lauren Fitzgerald's 
borderline horror story, "A Fruitful Harvest." 
There are also good stories with little or no 
fantasy, like Paul Park's "The Breakthrough" 
and Lisa Mason's "The Sixty-Third Anniver- 
sary of Hysteria." 

Out of 28 stories there are only a few 
duds, like Alan Rogers' overwrought "Ruby" 
and John M. Landsberg's oddly antique 
"Which Darkness Will Come Upon Us?" 

Any anthology that starts out with 
Michael Bishop's "Sinmply Indispensible." a 
funny, devastating look at media madness, 
quantum reality and human pettiness, is a 
winner, and Full Spectrum 5 is highly recom- 

— Scott W. Schumack 

Alvin Journeyman by Orson Scott Card 
(Tor, hardcover, 384 pp, $23.95) 

The fourth volume of "The Tales of 
Alvin Maker" skirts the problems that 
plague series entries. While Orson Scott 
Card is clearly establishing things for the 
next book, there is enough drama in Alvin 
Journeyman to make it a satisfying story. 
Fans will delight in the reappearance of 
characters like Mike Fink and Napoleon 
Bonaparte and a major development in the 
tempestuous romance of Alvin and Peggy 
Larner. Newcomers who read this book 
will definitely want to read the others. 

Card's vision of an alternate 19th cen- 
tury where psychic talents are common, 
and a smith named Alvin is acquiring the 
power and wisdom to remold America in 
a new vision of hope and justice, is con- 
vincing and seductive. A sense of tragedy- 
has hung over the books— Alvin's dream 
seems too good to survive— but even as 
Alvin's twisted brother is emerging as an 
archvillain. Card provides, in a clever, 
ominous ending, signs that the future is 
uncertain, and that the only way to know 
what's going to happen is to read the 

— Scott W. Schumack 

The Printer's Devil by Chico Kidd 
(Baen, paperback, 288 pp, $5.99) 

A young man's curiosity leads him into 
events he never anticipated in this novel take 
on an old theme. Writer Alan Bellman begins 
deciphering 300-year-old clues left behind 
by reputed magician Roger Southwell, and 
Alan's girl friend Kim begins noticing 
changes in him. Before long, she must rescue 
her beau from the magician's cunning trap. 

If nothing else, Chico Kidd deserves 
credit for making the first fantasy novel 
about the hobby of bellringing a most engag- 
ing one. A great young British couple, Alan 
and Kim make very identifiable protagonists. 

Those sections of The Printer's Devil 
which take place in the 17th century are writ- 
ten in that time's prose style; while initially 
off-putting, these areas become almost poet- 
ic once one masters the cadences (and quite 
funny when one deciphers the banter and 
insults). Through Roger Southwell and his 
associate, Fabian Stedman, Kidd shows the 
17th century to be a place more alien than 

some faraway planets. 

Modest and unassuming. The Printer's 
Devil conducts itself masterfully, and readers 
with an ear for music will no doubt be 
singing its praises. 

- John S. Hall 

A Sorcerer and a Gentleman by Elizabeth 
Willey (Tor, hardcover, 448 pp, $24.95) 

By right, the wizard Prospero should rule 
Landuc. but instead he lives in exile on an 
island while his brother Avril rules as Emper- 
or. Despite his daughter Freia's protests, 
Prospero is raising an army through sorcery 
which will help him reclaim his birthright. 
But even the best-laid plans of wizards can 
go awry, especially when more than one sor- 
cerer is involved. 

What at first seems like the umpteenth 

Devil Art: Newell Convers & Courtney Skinner 

take-off of Shakespeare's The Tempest turns 
out to be an enjoyable— if long-winded and 
meandering— read. A Sorcerer and a Gentle- 
man boasts a large cast of characters (some 
well-defined, others much less so) whose 
importance to the overall plot is never entire- 
ly certain to the reader. Large sections of the 
novel follow Dewar, a young sorcerer prone 
to such whims as helping the losing side in 
Prospero's war with his magic and forming a 
friendship with the impetuous, jealous Otta- 
viano while simultaneously flirting with 
Otto's young wife, the Countess Lunete. 

Other portions focus on Freia, who has 
the thankless task of being Prospero's daugh- 
ter. Alone, she's practical, capable and self- 
sufficient, but in her father's presence she 
irritatingly reverts to a whiny state of help- 
lessness. Elizabeth Willey's characters and 
their banter are well-crafted, but at times the 
novel lacks focus; for example, despite living 
in such a large world, certain people bump 

into each other with annoying frequency. A 
Sorcerer and a Gentleman may not be "the 
stuff that dreams are made of," but portions 
of it are enchantina. 

- John S. Hall 

An Armory of Swords edited by Fred 
Saberhagen (Tor, hardcover, 320 pp, 

In ancient times, the god Vulcan forged 
12 Swords of Power, each with a name and 
unique abilities. The gods intended to use 
these weapons in some game of theirs, but 
the blades quickly fell into human hands. 
Fred Saberhagen. creator of the Swords 
Saga, has assembled eight tales of these mag- 
ical items and their hapless "owners." 

An impressive anthology. An Armory of 
Swords features stories with dilemmas and 
consequences worthy of The Twilight Zone. 
In Gene Bostwick's "Fealty." a lonely young 
gravedigger, shunned because of his profes- 
sion, turns the tables on his tormentors when 
he buries a body containing the Sword of 

In John Walter Williams' "Woundhealer," 
the Sword of Healing allows a nearsighted, 
scrawny first son to rescue his dysfunctional 
family from their father's tyrannical grip. A 
foolish young man discovers that raising 
dragons isn't such a hot idea in Robert E. 
Vardeman's "Dragon Debt." The hapless nar- 
rator of Michael A. Stackpole's "Luck of the 
Draw" has the misfortune to be sailing into 
certain doom at the hands of a ruthless pirate 
enclave, until the luck blade Coinspinner 
saves the day. And in Saberhagen's "Blind 
Man's Blade," the creator shows how the 
Swords first began falling into humans' 
hands, thanks to the ambitions of a human 
mage named Keyes and the war-god Mars' 

With a premise of elegant simplicity, 
Saberhagen has created a world bound only 
by its writers' imaginations. The authors rep- 
resented within An Armory of Swords have 
sown results which teem with good writing 
and characterization. 

- John S. Hall 

This Side of Judgment by J. R. Dunn (Roc, 
paperback, 367 pp, $5.99) 

A woman is brutally murdered, and a 
nearby bank registers a computer intrusion. 
These are the opening moves in an insane, 
cybernetically enhanced killer's game. Three 
men are drawn into his net as they try to stop 
him: Federal Agent Ross Bohlen, who's tired 
of the hunt; John Nest, who's still fighting 
demons from his past; and Jason Telford, 
another cybernetically enhanced human try- 
ing to protect the last of his kind. 

J.R. Dunn packs a lot of background 
information and technical detail into his 
novel, without dragging it down too much. A 
couple of sections could have used more 
editing. The dialogue has an authentic ring to 
it, and Dunn cuts between characters effec- 
tively during the too-long final showdown. 

Judgement is a promising, if flawed, 
debut novel. 

— Pennx L. Kennx 

14 STARLOG/December 1995 




Complete your collection! 

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#10 Directors Rob Bowman & 
Corey Allen. Next Generation art. 
Four synopses. Posters. S7. 

#11 Frakes. Nine gatefold posters. 
Five synopses. $7. 

#12 Gates McFadden, Marina 
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Moore. Seven synopses. Posters. 

#14 Composers Dennis McCarthy 
& Ron Jones, Mark Lenard. Seven 
synopses (completing Season 3). 

#15 Dorn, designers Rick 
Sternbach & Michael Okuda. 
Ten synopses. S7. 

#16 Costume designer Bob 
Btackman, writer Sarah Higley, 
Trek novel painter Ke'rth Birdsong. 
Eight synopses. S7. 

#17 Director Cliff Bole, Sirtis, 
Leonard Nimoy. Seven synopses 
(completing Season 4). S7. 

#18 Composer Jay Chattaway, 
Nimoy. Nine synopses. S7. 

Carson ("Yesterday's Enterprise"), 
Marvin Rush ("The Host"), David 
Livingston, Rob Legato & six 
others. S7. 

#20 Director Robert Scheerer, 
Bebe Neuwirth, Trefrtrivia quiz. 
Eight synopses. S7. 

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Eight synopses. $7. 

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Timothy Bond, writers Ron Jarvis, 
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Sheldon & Marc Scott Zicree. 
Seven synopses (completing 
Season 5). S7, 

#24 Directors Chip Chalmers, Russ 
Mayberry & Robert Beck' 
Jack Sowards, David Ke 
Kasey Arnold-ince, J" 
Zambrano. Five syrr 

#25 100-page issue, 
interviews. Fifteen i 
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Peter Lauritson. Directors' 
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#27 Executive producer Jeri Taylor, 
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1 Grodenchik, Aron Eisenberg, 
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Fauci, Lisa Rich and Evan Carlos 
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station log issue, nine 
synopses, "Rules of Acquisition* 
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After years of searching through the vast 
storage vaults of 20th Century Fox, and 
complex legal negotiations. GNP Crescendo 
Records has finally won the rights to release 
the music from the four classic 1960s series 
created by the late Irwin Allen. Always in 
tune with the interests of their audience, pro- 
ducers Neil Norman and Mark Banning have 
been actively pursuing the rights to these 
scores for many years, and they are just as 
thrilled with the release this month as the 
fans are. 

The "Irwin Allen Project" (a final title 
was unselected at presstime). as Banning 
explains it. is "a six-disc boxed set of music 
from all four of Irwin Allen's series. Our first 
two discs will be devoted to Lost in Space. 
the first one will have the lohn Williams 
scores for "The Reluctant Stowaway,' 'Island 
in the Sky' and 'The Hungry Sea.' the sec- 
ond, starting with the third-year main title, 
will include the original music from some of 
the more whimsical episodes, many scored 
by Star Trek's Alexander Courage. Land of 
the Giants, we discovered, actually had a 
score for the pilot that was rejected, and that 
will be included with the episode's final 
music by Williams on a disc. Time Tunnel 
will have the fourth disc for the pilot score 
and whatever other music from that series 
we can dig up. Jerry Goldsmith's "Jonah and 
the Whale' score for Voyage to the Bottom of 
the Sea's second-season opener will be 
included with the pilot. The final disc will 
have sound effects, interviews and whatever 
else we come across at the Fox vaults." 

Two other genre-related titles also being 
released by Crescendo are a longer version of 
the fantasy Ladyhawke and the music from 
Forever Knight. "Our newly extended ver- 
sion of Ladyhawke has twice the music of 
that featured on the previous release. We 
have the orchestral cues that were left off in 
favor of the more modern Alan Parsons Pro- 
ject-style cues." Parsons, whose instrumental 
rock albums like /. Robot are steady sellers, 
produced the original album of Andrew Pow- 
ell's music. Both men gave their aid and 
blessings to the new version. 

Banning actually flew up to Canada to 
work closely with ex-Friday the 13th com- 
poser Fred Mollin on assembling Forever 
Knight. "It's a collection of Mollin's scores 
from the first two seasons." he tells us. "aug- 
mented with the Laurie Yates songs that are 
heard each episode in the Raven Bar." You 
can order directly from the record company 
by calling 1-800-654-7029. 

Rhino Rules: Rhino Records has begun 
to release an onslaught of classic television 
and movie soundtrack albums, thanks to their 
exclusive contracts with Hanna-Barbera Stu- 
dios and Turner Entertainment. Hot on the 
heels of last year's double punch of Hanna- 
Barbera Cartoon Sound FX (R2 71827) and 
the song and score compilation The Flint- 

stones: Modern Stone-Age Melodies (R2 
71648). comes a never-before-released col- 
lection of themes and underscores on Hanna- 
Barbera Classics. Volume 1 (R2 71887). 
Music from such ever-popular cartoons as 
Yogi Bear. Quick Draw McGraw, Magilla 
Gorilla. Scooby-Doo and 13 others are 
included here. Unlike many other cartoon 
theme albums, much of the music featured 
here was. in fact, composed by producers 
Bill Hanna and Joe Barbera. A second vol- 
ume, which will include The Jetsons and 
Jonny Quest, is scheduled to follow early- 
next year. 

The complete scores from three classic 
MGM features lead off Rhino's Turner Clas- 

cues of radio and live performance music. 
Both of these classic film discs include 
extensive liner notes, track breakdowns and 
photos crammed into 28-page CD booklets. 
Rhino's Tube Tunes series, first men- 
tioned last column, is now up to three vol- 
umes, mixing cover versions (the officially 
released singles) and original off-the-air 
themes from classic TV shows from the last 
25 years. The first volume (R2 71910) fea- 
tures 16 themes from the 1970s like the Nor- 
man Lear comedies All in the Family and 77;<? 
Jeffersons. Volume 2 (R2 71911). covering 
the '70s and '80s. includes the instrumental 
themes from Wonder Woman and Charlie's 
Angels as well as Lee (.The Six Million Dollar 

sic Movies Series. Perhaps none is more 
beloved than the complete score to The Wiz- 
ard ofOz (R2 71964). a two-CD set contain- 
ing 84 tracks of songs and incidental music, 
with several unused and rehearsal versions. 
Packaged in a hardcover book-style box, the 
set includes a magnificent 52-page paper- 
back detailing the history of the film and its 

Maurice Jarre, who composed the music 
for Mad Max Beyond Thunderdome (GNP 
Crescendo GNPD 8037) and Solar Crisis, 
scored his first big hit film 30 years ago. the 
classic Doctor Zhivago (R2 71957). For the 
anniversary. Rhino assembled the entire 42 
score cues and added three bonus tracks of 
the studio orchestra playing jazz, swing and 
rock 'n' roll versions of "Lara's Theme," per- 
haps the composer's most famous composi- 

Bernard Herrmann, another genre 
favorite, never had his original score for the 
Alfred Hitchcock thriller North By North- 
west (R2 72101) released until now. In the 
past, fans had to make do with re-recordings, 
such as The Avengers composer Laurie John- 
son's superb 1980 album, which was 
released on Varese Sarabande in the U.S. The 
50 cues featured on the Rhino release include 
several unused tracks and several "wild" 

Man) Majors warbling the "Unknown Stunt- 
man" theme from his Fall Guy series, and 
Greg (TekWar) Evigan performing his BJ. 
and the Bear song. "Believe It or Not." the 
theme from The Greatest American Hero, is 
one of two Mike Post themes on volume 3 
(R2 71912). which concentrates on the 

Upcoming releases include a shorter ver- 
sion of the Oz soundtrack, another Animani- 
acs album, a six-disc That's Entertainment 
retrospective and two Mel Brooks/Carl Rein- 
er sketch comedy albums. Rhino's direct 
mail order number is 1-800-432-0020. 

Post fans might want to check out Inven- 
tions from the Blue Line (American Gramo- 
phone AGCD 450). which features music 
from his current police shows. NYPD Blue, 
Silk Stalkings and Renegade. For more theme 
songs, try Television Themes: 16 Most 
Requested Songs (CK 53609). Colum- 
bia/Legacy's compilation of cover versions 
from '50s and '60s shows that includes 
Green Acres. The Beverly Hillbillies and 
actor Bob Crane's own band performing the 
theme from his Hogan 's Heroes. 

Late Summer Fare: Over 40 minutes of 
Alan Silvestri's bombastic Judge Dredd 
score made it onto the CD (550 Music/Epic 
Soundtrax BK 67220). He was the final 

16 STARLOG/£><?«™/w 1995 

choice of no less than four composers who 
were announced for the film over the last 
year. Those with good ears have noted that 
Jem' Goldsmith, who dropped out due to a 
scheduling conflict, actually scored the the- 
atrical trailer, so you can compare his theme 
to Silvestri's. 

Only three tracks (10 minutes) of Basil 
Poledouris' score for Free Willy 2: The 
Adventure Home (MJJ/550 Music/Epic 
Soundtrax BK 67259) survived the cut 
amidst songs by Michael Jackson and 
friends. If you liked Goldsmith's First Knight 
i Epic Soundtrax EK 67270) score, check out 
Yarese Sarabande's re-issue of his earlier 
medieval film, Lionheart (VSD-5484). 

Despite the film's mixed reviews, people 
have really taken a liking to James Newton 
Howard's lavish 68-minute orchestral score 
to Waterworld (MCA Soundtracks MCAD- 
11282) which, unlike Apollo 13 (MCAD- 
11241), was released devoid of any pop 
songs and such. The 24k gold Dolby Sur- 
round edition of Apollo 13 is rumored to have 
even less of the James Horner score. More 
dialogue and sound FX were added to punch 
up the surround sound experience. Mean- 
while, radio stations were sent promotional 
CDs containing about an hour of the Horner 
score only\ 

David Newman's "big" score for Opera- 
tion Dumbo Drop (Hollywood Records HR- 
62032-2) is also intercut with classic '60s 
songs, though one, Jackie Wilson's "(Your 
Love is Lifting Me) Higher and Higher ,'" was 
the main song for Ghostbusters II that some- 
how was left off their album. 

One album where the dialogue is pretty 
hip is Jeffrey (Varese Sarabande VSD-5649). 
Stephen Endelman. who also scored Hugh 
Grant's The Englishman Who Went Up a 
Hill... (Epic Soundtrax EK 67151), wrote the 
music for this film, which, coincidental!}'. 

features Patrick Stewart 

and Ethan Phillips, whose 

dialogue appears on the 


Dr. Jekyll and Ms. 

Hyde, the comedy update 

of the classic, will have its 

score, composed by Mark 

McKenzie. out on Intrada 

(MAF 7063D). They have 

also released their second 

Excalibur Collection title, 

the late Miklos Rozsa's 

classic score to 1 953's 

Julius Caesar, performed 

by the Sinfonia of London. 

under the direction of 

Bruce Broughton. 

Milan has released 

Carlo Siliotto's score to the 

fantasy film Fluke (73138- 

35720-2). the story of a 

father who dies, only to be 

reincarnated as a dog who 

is adopted by his family. 

Hans Zimmer's score to the 

Hugh Grant comedy Nine 

Months (73138-35726-2) is 

the first in what is expected 

to be a series of 20th Century Fox film scores 

on this label. 

Re-Issues: Varese Sarabande has brought 

back the long out-of-print soundtrack to the 

American version of Ridley Scott's Legend 

(VSD-5645). Tangerine Dream was brought 

in to replace Jerry Goldsmith's original score 

(Silva Screen FILMCD 045) by the studio to 

give the film a more "hip" feel. Surprisingly. 

both scores have gained strong followings. 
Suites from The Beastmaster, Splash and 

the TV fantasy series Wizards and Warriors 

appear on Citadel Records' Charles Gerhardt 

Conducts the Film Music of Lee Holdridge 
(VSCD47244), previously released 
on Varese Sarabande in the early 

Milan Records expects to have a 
fifth-anniversary edition of Mau- 
rice Jarre's popular Ghost sound- 
track out about now. 

Imports: Germany's Tsunami 
fe», Records has released Bernard Her- 
. rmann's complete score to Fahren- 
| heit 451 (TSU 0136). Though not 
of the best sound quality (the 
Varese Sarabande re-recording by 
Joel McNeely, VSD 555 1 , is a bet- 
ter listen by far), it is the compos- 
er's original recording. 

When he was still a member of 
Tangerine Dream, Babylon 5 com- 
poser Christopher Franke co-wrote 
the music for the film Heartbreak- 
ers, which starred E.T.'s Peter Coy- 
ote. Silva Screen has released the 
disc in the U.K. (FILMCD 1 63) and 
Silva America will make the disc 
available in the U.S. 

Mark McKenzie's score to 
Dr. Jekyll and Ms. Hyde 
materializes from Intrada. 

Wizards and Warriors isn't forgotten. Fans can hear the 
magic in Citadel's reissue of a compilation of Lee 
Holdridge tunes. 

Classics & Other Stuff: Varese Sara- 
bande has unearthed a treasure of scores from 
those terrific 1950s "B" movies. Not of This 
Earth!: The Film Music of Ronald Stein 
(VSD-5634) presents, for the first time, the 
original recordings (some in stereo!) from 
Attack of the 50 Foot Woman. Attack of the 
Crab Monsters, the title film and four others. 
They even found Lon Chaney Jr.'s song from 
Spider Baby'. Oh, the horror! 

The Hollywood Bowl Orchestra tries the 
Cincinnati Pops route with Journey to the 
Stars: A Sci-Fi Fantasy Adventure (Philips 
446 403-2). Combining music with sound 
effects, the orchestra, under the direction of 
John Mauceri, performs 11 film themes, from 
The Witches of Eastwick to The Bride of 
Frankenstein and Star Wars. The tracks are 
broken up by snippets from the original 
soundtrack to Forbidden Planet (Small Plan- 
et Records PR-D-001). Perhaps the best rea- 
son to buy this album is a wonderful 
16-minute suite re-creating Sir Arthur Bliss' 
music to the classic 1935 Things to Come. 

The 1 1th and 12th volumes in Naxos' Cin- 
ema Classics series features music heard in 
The Spy Who Loved Me and Hard Target 
(8.551171), and The Living Daylights, Rose- 
mary 's Baby and Rollerball (8 .55 1172). 

James Sedares and the New Zealand 
Symphony Orchestra have recorded several 
piano concertos by legendary film composers 
Franz Waxman, Bernard Herrmann and Alex 
North for the Koch International Classics 
alburn The Paradine Case (3-7225-2H1). 
Also on the same label, the Beau Hunks, who 
took the world by storm with their frighten- 
ingly faithful re-creations of 777e Little Ras- 
cals scores (3-8702-2), have taken on the 
works of Raymond Scott, whose music was a 
favorite in the Warner Bros, cartoons and Ren 
and Stimpy. Celebration on the Planet Mars 
(continued on page 64) 

STAKLOG/December 1995 17 



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New York, NY 10016 
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...I would like to appeal to your readers to help me 
in my quest to convince Fox to renew VR.5. It has 
become one of my favorite shows, and I'm angry 
and frustrated that it is not being renewed. The 
show is refreshing and innovative, as well as smart 
and absorbing . I find the application of virtual real- 
ity to unlock psychological blocks and uncover the 
truth to be fascinating. I have enjoyed following 
Sydney blooming (pardon the pun) as she comes 
into her own mind and searches for the truth about 
her past. In fact, I like everything about VR.5. from 
its FX to its cast. It was the most unique show on 
the air. And now it's gone. 

I have found network television to be the most 
hostile environment for SF. It seems it makes peo- 
ple nervous. I realize that they want mainstream 
audiences, but I resent being treated like a second- 
class citizen by network execs. We are not some 
kind of nerd class that lives underground and never 
pokes our noses out. We work, we socialize, we 
contribute to society, we watch TV and, more 
important for them, we consume. Yes. executives 
and marketing people, we buy stuff too. We are 
intelligent consumers who watch an alarming 
amount of television. However, we are going to 
cable more and more as broadcast television turns 
its back on us. The only place on open-air televi- 
sion we find welcoming to our tastes is syndica- 
tion. It is thanks to syndication that Star Trek 
finally has found security and has let shows such 
as Babylon 5 and Highlander find a haven. I won- 
der if Star Trek: TNG would have become the hit 
and big moneymaker it has for Paramount if it had 
tried network TV again. Unlikely. 

There is so little that is new or unique on tele- 
vision. It seems that if we want something, we 
have to fight for it. So I'm fighting for VR.5. If fans 
of the show would write to Fox and ask them to 
keep the show on the air. maybe it would help. 
Write to John A. Matoian. Fox Entertainment Pres- 


idem. Suite 900. Beverly Hills. CA 90213. If 
enough of us speak up, they will give it another 
chance. Then, when the time comes, actually 
watch it. Also write to John Sacret Young c/o Fox. 
telling him to fight for VR.5 and to take it to syndi- 
cation if necessary. Come on. gang, give me a 

Ceara F. Connelly 

P.O. Box 27103 

Akron. OH 44319 


...What are Star Trek: Voyager fans called? "Spe- 
lunkers" or "Spelunkies?" Yes, I am one of the Star 
Trek fans that is tired of seeing a starship crew 
explore every cave in the Delta Quadrant of space. 
I am still wondering why Janeway could not hold 
any services for her dead in the first episode. Well, 
it was only her first officer, doctor, chief engineer, 
helmsperson. nurse and countless others who were 

Janeway "s compassion escapes me. Let me 
praise Genevieve Bujold. who felt Voyager was 
not up to par and left the show. 

Let's look at Janeway 's negative actions. She 
loses her starship in space. She allows most of her 
key personnel to be killed and the rest of her crew 
to be kidnapped. Who can look at "Caretaker" and 
say it is quality? 

Is there a Genevieve Bujold Fan Club? If so, I 
wish to join. 

Tim Smith 

15114 Foothill Boulevard #16 

Fontana. CA 92335 


...I wanted to spend a moment talking about a 
show which I feel has been undeservedly over- 
looked. Gerry Anderson's Space Precinct. I am a 
big fan of science fiction and will watch just about 
any film or TV show with an SF theme— at least 
once . When I first saw a new series was starting on 
Channel 1 1 here in New York. I was skeptical but 
decided to set the VCR timer (it's on at 2:30 a.m.) 
and take a look. Ever since then I have been 
hooked, recording it every week and eagerly get- 
ting up to watch the show the next morning. The 
only other show I currently watch with such regu- 
larity is The X-Files. 

What continues to amaze me is the conspicu- 
ous lack of recognition by the media, yourself 
included, of the existence, let alone the superior 
quality of the show. As a police show. I would put 
the quality of its scripts equal to anything I have 
seen on Naked City. Hill Street Blues or Law and 
Order. As an ensemble cast. I believe this group of 
actors is as cohesive and well-defined as those on 
highly-regarded shows such as M*A*S*H. The 
Dick Van Dyke Show. The Mary Tyler Moore Show 
and Barney Miller. As a science fiction show, I 
would say it's the best one I've ever had the plea- 
sure of watching. I started with Voyage to the Bot- 
tom of the Sea, Lost in Space and Star Trek in the 
'60s; went through Battlestar Galactica, Buck 
Rogers in the 25th Century and Space: 1999 in the 
'70s and '80s: and into seaQuest. Earth 2 and the 
Star Trek: The Next Generation trio in the '90s. 

I've watched all those shows, and many others 
that got much more print space, but haven't felt 
this enthusiastic about a show since I watched 
Fireball XL-5 as a kid. For example, when The 
Next Generation was in first-run status. I regularly 
watched it and Deep Space Nine. However, repeti- 
tive storylines and overused plot devices (plus a lot 
of simply bad scripts) made me realize, even while 

the first run of shows were going, that the show 
was a less than stellar effort. Once TNG was over. 
I figured that out of seven seasons, I would be hard 
pressed to come up with a single season's worth of 
quality episodes. Although I still buy books based 
on the original series. I've stopped watching any- 
thing tied to the current Star Trek Universe. I don't 
care what happens to DS9 anymore, and if it didn't 
have the Star Trek name in front of it, I think Voy- 
ager would have been cancelled after the first cou- 
ple of episodes. I know it's the Paramount 
Network's flagship, but I found it to be inferior as 
a TV show to Platypus Man and Marker— Wo of 
UPN's other first-season shows which were can- 

So far as comparing Space Precinct to past 
imports; two other British shows, Red Dwarf and 
Blake's 7. which you have devoted considerable 
print space to. I found them cold, uninvolving and 

I hope I've aroused your interest enough to do 
a write-up on it in your magazine. I regularly 

cruise from LOS ANGELES 




JUNE 15-22, 1997 

Cruise the blue Pacific to Mexico's Riviera coost in the 
company of more than a dozen actors and behind 
the scenes personnel from the original Star Trek® 
through Voyager.® There are theme-related cruises 
and then there is Seatrek, the perfect combination of 
setKjoing holiday and Trek convention aboard 
Carnival Cruise Lines beautiful ship, the Jubilee. 

Seatrek 97 is the seventh voyage organized by 
Seatrek Enterprises, creators of the original Star Trek 
cruises. We have payment plans, Trek Partner 
sharing plans for those travelling alone, charge card 
approval, discount airfares, Universal Studios 
package and other travel services. Sail with us in 
1 997 and join in the special events celebrating our 
l Oth anniversary. 

For FREE brochure, send an S.A.S.E. business size 
envelope to:Seatrek 97, 8306 Mills Drive, Box 
1 98, Miami, FL 331 83 or phone 800-326-8735 
or 305-388-2890 

STASLOQ/December 1995 19 

TriP) HUB> filUSAN , WCID ee f!ESMEP BISHT AW*) ! " 

watch The X-Files, but I would gladly see a couple 
less articles on that show to see some columns 
printed on Space Precinct. 

Anthony L. Marshall 

1 2 Grasmere Court 

Staten Island. NY 10305 

Nor covering Space Precinct? In the immortal 
words of Sam Goldwyn, "include us out" when it 
comes to that accusation. STARLOG first pre- 
viewed Gerry Anderson's project long ago— when 
Anderson first conceived it as Space Police— back 
in STARLOG #125. After it finally sold to TV. 
Anderson discussed the show last summer in 
STARLOG #205. Series star Ted Shackelford was 
featured in issue #208 in a profile rimed to the 
series' premiere. And after much effort, we were 
able to interview co-star Rob Youngblood (see SF 
EXPLORER #10. now on sale). 


Poster $19.95 each 

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WRITTEN ORDERS. Please allow 4 to 6 weeks lor delivery. 

...There is a factual error in Audiolog of issue 
#217. It states: 

"The honor went instead to John Williams' The 
Reivers. . .reputed to have brought the composer to 
Spielberg's attention, leading to their first pairing 
on Jaws." 

Steven Spielberg and Williams' first pairing 
was on Sugarland Express in 1974. Jaws came out 
in 1975. 

Christopher Haviland 

623 Dory Lane. #K2 12 

Altamonte Springs. FL 32714 

...In STARLOG #218. there is an article on the 
actor who played Belloq in Raiders of the Lost Ark. 
Paul Freeman. In the article, his first name is 
referred to as Henri, a mistake repeated in Liner 
Notes. Belloq's first name is Rene, not Henri. I 
have checked my copy of the script for Raiders to 
make sure. Please see page 61 of the script. 


via the Internet 


. . .Mind if I share a few thoughts about Apollo 132 
I've seen a lot of movies this summer, but none 
match the sheer intensity and drama of Apollo 13. 
This is a truly incredible film. I am not easily 
"moved" by a movie. Apollo 13 accomplished this. 
Even knowing the outcome— that the astronauts 
would return safely— something which would nor- 
mally be a death-knell for a movie, did not hinder 
this film one bit. 

It seems everyone's talking about another 
Oscar for Tom Hanks. Maybe so. but there should 
be an Oscar for team effort here. Hanks was not 
that much of a standout. Instead, he was part of an 
excellent ensemble cast which included Bill Pax- 
ton, Kevin Bacon and Ed Harris, whose portrayal 
in Mission Control should not be overlooked. Ron 
Howard has put together one fine film. 

I was alive when the events of Apollo 13 hap- 
pened for real, although I was only 10 at the time. 
My father was in the newspaper business, so we 
heard a lot about it. and I had been a close follow- 
er of the space program since the early Gemini 
missions. The movie Apollo 13 was both a look 
back and an update for me. You don't remember a 
whole lot when you're 10. 

But there's something more significant to 
Apollo 13. and it comes in the closing words of 
Tom Hanks (Jim Lovell). who. speaking from a 
present-day perspective, remarks. "Sometimes I 
still look up at the Moon in the evening sky, and 
wonder when we'll return." At least he said when 
and not if. This one quote should be a rallying cry 
for space exploration. 

The nation was galvanized by the events of 
both Apollo 13 and Apollo 11 . the first successful 
lunar landing. Since that time, we've become a 
nation divided— divided into a miasma of spoiled, 
selfish, special-interest groups that can't see 
beyond their own petty needs and desires, and for 
whom words like "honor." "glory." "grandeur" and 
"sacrifice" have no meaning. NASA's budget is a 
bare fraction of what it once was. 

To take a look at the history of this planet is to 
see that exploration is a significant part of the 
human spirit. We need to continue that, and space, 
while not necessarily the final frontier, is certainly 
the most awesome laid out before us. We need to 
be out there. We need to return to the Moon, and go 
beyond. We can't stay in the cradle and just orbit 
the homeworld every so often . 

So what can be done? Well, as far as those spe- 
cial-interest groups are concerned, fortunately- 
some of them are devoted to returning us to space. 
I'm a member of both the Planetary Society and 
the National Space Society, both of which have 
voices in Washington, as well as the scientific and 

educational communities, two vital realms for this 
country that get sadly overlooked, mistreated and 

There's the usual lines of "write your congress- 
man." but hey, it works! It can't hurt! Those sena- 
tors and representatives are supposed to be there 
for us, but they need to know we're out here! 

Space should not be the exclusive territory of 
science fiction. It does not belong to Captains Kirk 
and Picard. or Luke Skywalker and Han Solo. We 
can and should be out there as well, discovering 
the real wonders of the cosmos, live and in person. 

Sometimes I'm asked if I would travel into 
space. If. given the opportunity. I would go to the 
Moon, knowing the risks, knowing the dangers, 
would that be something that this 35-year-old 
graphic artist would be willing to do? Hey. just 
hand me an astronaut suit and point me to the 
launchpad. Life itself is a risk. It can also be an 
adventure. And the greatest one is out there. 

Thomas Wheeler 

7887 N. La Cholla #2154 

Tucson. AZ 85741-4357 

. . .Thank you for the article on Apollo 13. Kudos to 
Imagine. Ron Howard. Brian Grazer. Tom Hanks. 
Kevin Bacon. Bill Paxton. Gary Sinise. Ed Harris 
and the rest of the cast and crew for Apollo 13. I 
had read Lost Moon and had seen the PBS special. 
Apollo 13: To the Edge and Back prior to seeing 
the movie, and was curious as to how close to actu- 
al events the movie would stick. Almost exactly, as 
it turns out. One of the actual astronauts. Fred 
Haise, quoted in a newspaper article, stated how 
one of the dramatic moments in the film was total 
fiction, but that knowledge doesn't really detract 
from the movie. 

Actor Bill Paxton commented once that he 
worried that in ALIENS, the audience would be 
only too happy to see his character, Hudson, buy 
the farm, because of all the Marines who survived 
the initial onslaught of the aliens, he was the one 
who showed the most fear. But in reality, his char- 
acter turned out to be one of the most popular, 
because the audience could identify with someone 
who was really afraid in a situation that warranted 

This is also true for Apollo 13. We know, in 
reality, that the astronauts in Aquarius did not turn 
on each other or bicker among themselves while 
cooped up in the LEM (they were not the kind of 
men who would, otherwise they wouldn't have 
been chosen to be astronauts in the first place), but 
having such a scene in the movie was invaluable in 
getting the audience to identify with the-eharacters. 
The real astronauts' self-control, focus and bravery 
in any situation is beyond reproach and also 
beyond the layperson's ability to identify with. But 
again, this is a movie, and the decision to insert 
such a fantasy scene was brilliant. 

Apollo 13 is a movie. In reality. Jack Swigert 
was the pilot, and his voice announced the return 
of Odyssey to Earth, not Jim Lovell's as portrayed 
in the movie. (It was. after all. Tom Hanks' movie.) 


It was a shame to see the employees of Grumman 
portrayed as they were. That was a disservice to 
the hundreds of Grumman employees who raced 
into work after the disaster to see if they could be 
of help. And it was. after all, Grumman's homely 
little LEM that performed beyond the designer's 
specs. The movie practically begged the question: 
How many people can be shown acting above and 
beyond the call to help rescue the astronauts? In 
the movie, the answer was not very many, or that 
would tax the audience's "get real" quotient. But 
the reality was that many, many people did just 
that, believe it or not. The reality of that mission 
was even more intricate and incredible than could 
be shown in two hours and 15 minutes. 

The movie was superbly done and well-paced. 
It definitely was not a vacuous Speed as far as sum- 
mer movies are concerned, but that's a mark in 
Apollo's favor, especially as it is a true story. The 
movie is for the thinking members of the public, to 
be sure, but during my numerous viewings. the 
children who were in the audience seemed to enjoy 
it as well. Apollo 13 bears up under repeated 
screenings due to the understated acting of Tom 
Hanks and cast (it takes more than one viewing to 
get the nuances present in their performances) and 
the exquisite care taken to reproduce the atmos- 
phere and mood of the period. 

Apollo 13 has also ruined for me any existing 
and future movies that might be based upon the 
space program, because I now will expect these 
productions to live up to its standards of accuracy. 
The movie also made it easy to get drawn into the 
suspense and tension simply because of Imagine's 
decision to reveal how they actually shot their 
weightless scenes. Knowing that the actors 
involved were actually risking life and limb (head- 
ing over the parabola and for the ground at 500 
mph in the "Vomit Comet") and that some of them 
were all too aware of their mortality (e.g. Kevin 
Bacon and Gary Sinise) made the weightless 
scenes that much more compelling. The lift-off 
(while a special FX masterpiece and combined 
with a rousing score) conveyed the real-time phys- 
ical brutality of lift-off even more so than actual 
documentary footage I have seen. 

Again, congratulations are due to the cast, 
crew and company. I hope those who actually lived 
this incredible adventure feel they have been cast a 

Lisa Ponce 

Address Withheld 

...In Kim Howard Johnson's article on director 
Ron Howard and his latest film Apollo 13 (STAR- 
LOG #217) — which opened, coincidentally in the 
same week the U.S. space shuttle Atlantis docked 
with the Russian Mir spacecraft, another step on 



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the way to establishing an international station g, F 
in orbit— the cinematic lunar mission mishap £ j 
and The Right Stuff are inevitably compared. ^ j 
It's natural. Both are. in my opinion, exemplary i.- ' 
films. Apollo 13 apparently already has gar- <. 
nered Oscar support in certain critical circles. 
Both share a common subject matter, namely 
astronauts and the space program; both are 
firmly rooted in journalism and the history 
books, and both have Ed Harris in their respec- 
tive casts. He plays John Glenn in the Philip 
Kaufman release and. in a fine performance, is 
the steely mission control honcho in Apollo 13. 

I agree with Howard, however, in determin- 
ing his new film as dissimilar to the celluloid 
paean to Chuck Yeager and the Mercury astro- 
nauts, to the extent that one movie won't easily be 
mistaken for the other. The Right Stuff covers a 
huge chunk of political and historical ground over 
a span of years, thus is unable to avoid a somewhat 
long (over three hours running time), disjointed 
and episodic narrative. Moreover, the backdrop of 
flight testing, test pilots and Yeager's landmark 
excursion into the unknown with the X-l brings the 
movie closer in spirit to something like David 
Lean's Breaking the Sound Barrier than to Apollo 

A likelier kin is Robert Altman's Countdown 
(1968). The lunar mission in this instance is whol- 
ly fabricated, first formed in novelist Hank Searls' 
imagination. Here the American space program is 
pressured by the Russians into making a drastic 
shortcut. The movie's tone and flavor are so 
authentic, its details so plausible, that it parallels, 
in a number of respects. Ron Howard's space 
adventure. Consider the untimely replacement of 
crew members, coordination problems in the simu- 
lators, lack of training time, resentment among the 
astronauts, concern among wives and family mem- 

■»« rAtRsfce 

irmon to 8E. 
-fHA.t» "WIS 

bers. technical exposition through public relations 
and press conferences, various crises in Mission 
Control, the consuming compulsion to complete 
the mission and so on. The fatal problem with 
Countdown is that the future caught up with it all 
too quickly. The year was 1969. when man set foot 
on the Moon . Pit-Godfather stars James Caan and 
Robert Duvall are utterly convincing in their buzz 
cuts, heading up a fine cast, but the outmoded tech- 
nology and the transpiration of real-life events ren- 
der the film a curiosity today. 

Finally. Apollo 13 is. for a summer movie, a 
reality check, a nuts-and-bolts alternative to car- 
toon physics and the absurd spandex superheroics 
of thinly disguised merchandising machines and 
franchise operations. It restores the proper per- 
spective of space, distorted by fanciful SF extrava- 
ganzas, as an exciting and lethal place in which to 
work and live. It's also a fine tribute to the men and 
women whose courage, dedication and commit- 
ment made the US space effort a success story. 

Al Christensen 

Tacoma. WA 

Another Convention Adventure Presented By 

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June 15*22, 1996 

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Antares 1995 

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22 STARLOG/December 1995 

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Science: The Propeller 

There isn't a scientific bone in my body. In high school. I took a year of chemistry, 
but that's as close to a lab smock as I've come. Over the years I've been involved in 
many jobs, many projects and many different fields — but none could be truthfully 
called science. 

Yet I am a life-long, dedicated, passionate fan of science fiction, and the first word ot 
that term implies a passion for research, discovery and progress. That's me! I suspect that 
all fans of science fiction are fascinated by the workings and the benefits of science— ever 
if we don't understand the details. 

The dictionary defines science as: "a branch of knowledge or study dealing with a 
body of facts or truths systematically arranged and showing the operation of general 
laws." OK. but let me define it in simple terms I can relate to: "Science is what propels the 
human race forward." 

Whether we are sending probes into distant space or observing microscopic details 
within our own bodies, the quest for knowledge is the most noble characteristic of the 
human experience. Science involves our exploration of existence, and the more we under- 
stand existence, the better we exist. It's a trite expression, but knowledge is power. To me. 
scientists are far more important than priests or politicians in terms of their value to 
human culture and to our future. Scientists are heroes. 

Often in science-fiction stories, scientists have been shown as misguided— or mad. 
Indeed, there is a necessary obsession that drives scientists through years of slow, difficult, 
concentrated research. This obsession tends to disconnect them from everyday life and 
make them eccentric and possessed. But this obsession is what leads to brilliant, original 
thoughts and new discoveries. 

Although I am not versed in science, I am fascinated with scientific discoveries. I scour 
newspapers, magazines and TV programs for news of breakthroughs, because they never 
fail to make me feel hopeful and positive. Here, for example, is a sampling of recent sci- 
entific news: 

Magic Ingredient: An automobile windshield that "washes" itself with sunshine could 
soon be a reality. Adam Heller, chemical engineer at the University of Texas at Austin, 
explained that titanium dioxide is a photocatalyst that strips organic matter from surfaces 
coated with it. The ingredient would add only a few dollars to the cost of a windshield. 
Walls could also be coated with this "magic" substance and remain bright and clean per- 

Trauma Causes Brain Damage: When someone is in a physical life-and-death 
crisis— such as fleeing a mugger— the harm can be more than psychological. It is now 
believed that severe trauma causes permanent brain damage as well. During emotional cri- 
sis, the body suppresses less-urgent functions (ovulation, immune system reactions, 
growth, etc.) and turns all resources to survival. This action includes the release of chemi- 
cals that kill neurons in the hippocampus (a brain structure vital to learning and memory) 
if the quantity is excessive and the trauma is sustained. 

Basis of Life: For the first time, a free-living organism has been precisely defined by 
the chemical identification of its complete genetic blueprint. The organism is a simple 
bacterium, but. like humans, it is capable of independent existence. Complete sequencing 
of the cell's DNAhas given biologists deeper understanding of genetic survival strate- 
gies—a first step toward seeing what a living cell needs in order to grow, survive and 
reproduce itself. This has encouraged scientists in efforts to sequence the much longer 
DNA of higher organisms like humans. "I think it's a great moment in science," said Dr. 
lames D. Watson ."co-discoverer of the structure of DNA. Indeed, this is a landmark in the 
voung science of genomics. 

Fat Hormone Found: Discovery of a hormone that sets the level of fat in a body- 
promises, at long last, a way to control weight. When an overweight person follows a diet 
effectively, the person still tends to return to a kind of "base weight"— a percentage of 
bodv fat that scientists now believe is established by this hormonal thermostat. It is 
believed that injection with additional hormone will direct the body to shed excessive, and 
harmful, fat. 

It's not that any of these news items touch my life today. I'm not overweight or suffer- 
ing trauma, and I don't mind cleaning my windshield with ammonia. It isn't practiced 
need that makes me feel hopeful and positive when I read about breakthroughs. 

What inspires me is the uplifting knowledge that such work is quietly going on. I am 
emotionally elevated when I become aware that we humans are capable of exploring the 
world around us and deriving knowledge that propels us forward. Amid all the tragic news 
of the world— the evil and the irrationality — it is crucial to remember that we are also 
good and intelligent. 

Science fiction often tells us that tomorrow can be better than today. Science tells us 
that we are actually moving in the right direction. 

—Kerry O'Ouinn 

Explore the History of Science Fiction in 

Order now while issues last! 

Note: All issues include numerous articles & 
interviews. Only a few are listed for each entry. 

=2 Gene Roddenberry. 
Space: 1999 EP 
Guide. Logan's Run. 
War of the Worlds. 

=3 Space: 1999 EP 
Guide. Nichelle 
Nichols. George Takei. 
Deforest Kelley. S35. 

#4 3-D SF Movie 
Guide. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

=5 3-D Film history. 
UFO & Space: 1999 
EP Guides. S15. 

=6 Robert Heinlein on 
Destination Moon. 
Animated Star Trek. 

=7 Star Wars. 
Rocketship X-M. 
Space: 1999 Eagle 
blueprints. Robby. S35. 

-8 Harlan Ellison. Star 
Wars. The Fly. S25. 

#10 George Pa!. Ray 
Harryhausen. Isaac 
Asimov. $20. 

=11 CE3K. Prisoner 
EP Guide. Incredible 
Shrinking Man. Rick 
Baker. S20. 

#12 Roddenberry, 
Doug Trumbull & 
Steven Spielberg. 
CE3K. Dick Smith. 

#13 David Prowse. Pal 
on The Time Machine. 
Logan's Run EP 
Guide. S5. 

#14 Project UFO. Jim 
Danforth. Saturday 
Night Live Trek. S5. 

#15 Twilight Zone EP 
Guide. Galactica. 
Richard Donner. This 
Island Earth. S5. 

#16 Phil Kaufman. 
Fantastic Voyage. 
Invaders EP Guide. 

#17 Spielberg. 
Roddenberry. Joe 
Haldeman. Ralph 
McQuarrie. S5. 

#18 Empire. Joe 
Dante. Dirk Benedict. 
Richard Hatch. S5. 

#19 Roger Corman. Gil 
Gerard. Star Wars. 
Body Snatchers. CE3K 
FX. $5. 

#20 Pam Dawber. Kirk 
Alyn. Buck Rogers. 
Superman. S5. 

#21 Mark Hamill. Lost 
in Space EP Guide. 
Buck Rogers. S5. 

#22 Lome Greene. 
Veronica Cartwright. 
Special FX careers. 

=23 David Prowse. 
Dan O'Bannon. Dr. 
WhoEP Guide. Day 
Earth Stood Still. 
ALIEN $5. 

Anniversary. William 
Shatner. Leonard 
Nimoy. S6. 

#25 Ray Bradbury. 
Star Trek: TMP. Thing. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson S5. 

#27 Galactica EP 
Guide. ST: TMP. 
ALIEN FX. Nick Meyer. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. S5. 

#29 Erin Gray. Buster 
Crabbe. S5. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. S15. 

#31 Empire. 20.000 
Leagues Under the 
Sea. Chekov's Ent. 2. 

#32 Sound FX LP. 
Buck Rogers & Trek 
designs. Chekov's Ent. 
3. S6. 

#33 Voyage EP Guide. 
Ellison reviews Trek. 


#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. S15. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 

#36 4th Anniversary. 
Nichols. Prowse. Glen 
Larson. Yvette 
Mimieux. S6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. S5. 

#38 CE3K. Buck 
Rogers EP Guide. 
Kelley. S5. 

#39 Buck Rogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. S5. 

#40 Hamill. Gil Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. 54. 

#41 Sam Jones. John 
Carpenter. S5. 

#42 Robert Conrad. 

Mark Lenard. 
Childhood's End. 
Dr. Who. S6. 
#43 David 

Cronenberg. Jeannot 
Szwarc. Altered States 
FX. Hulk EP Guide. 

#44 Altered States. 
Bob Balaban. S5. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. $5. 

#46 Harry Hamlin. 
Blair Brown. Superman 
II. G American Hero. 

#47 Takei. Sarah 
Douglas. Doug Adams. 
Outland. S5. 

#48 5th Anniversary. 
Harrison Ford. Lucas. 
John Carpenter. Bill 
Mumy. S6. 

#49 Adrienne Barbeau. 
Kurt Russell. Lucas. 
Takei. 007 FX. 
Raiders. S15. 

#50 Spielberg. Sean 
Connery. Lawrence 
Kasdan. Lucas. Ray 
Walston. Heavy Metal. 
Dr. Who. S50. 

#51 Shatner. 
Roddenberry. Jerry 
Goldsmith. Kasdan. 
Batman. $5. 

#52 Blade Runner. 
Shatner. S5. 

#53 Bradbury. Patrick 
Macnee. Blade 
Runner. S5. 

#54 3-D Issue. Bob 
Culp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. RaidersFX. 
Trek bloopers. S5. 

#55 Quest for Fire. Phil 
K. Dick. Culp 2. Ed 
(UFO) Bishop. 
Trumbull. Trek 
bloopers. S6. 

=56 Zardoz. Triffids. 
Trek bloopers. S5. 

=57 Lost in Space 
Robot. Conan. 
Caroline Munro. Ron 
Cobb. S10. 

#58 Blade Runner. 
The Thing. Syd Mead. 
Trek bloopers. S10. 

#59 The Thing. 
Kirstie Alley. Merritt 
Butrick. Arnold 
Schwarzenegger. S35. 

#60 6th Anniversary. 
Star Trek It. Carpenter. 
Ridley Scott. TRON 

#61 Trek II Pt.2. Walter 
Koenig. Sean Young. 
Road Warrior. S15. 

#62 Ricardo 
Montalban. Koenig. 
James Doohan. Ken 
Tobey. Dr. Who. S5. 

#63. Spielberg. Nimoy. 
Kurt Russell. Rutger 

Hauer. James Horner. 

#64 David Warner. 
Peter Barton. Dr. Who 
EP Guide. S75. 

#65 Arthur C.Clarke. 
Hamill. E.I FX. Dark 
Crystal. S5. 

#66 Dark Crystal. 
Frank Herbert. Frank 
Marshall. S5. 

#67 TRON. ; 'Man Who 
Killed Spock." Trek II 
FX. S5. 

#68 Octopussy. Never 
Say Never Again. 
Harve Bennett. 
Richard Maibaum. S5. 

#69 Anthony Daniels. 
Tom Mankiewicz. Jedi. 

#70 Man From 
U.N.C.L.E. Debbie 
Harry. Chris Lee. John 
Badham. $5. 

#71 Carrie Fisher. 
Judson Scott. Dan 
O'Bannon. V. S5. 

#72 7th Anniversary. 
Hamill. Shatner. Roger 
Moore. Bradbury. June 
Lockhart. S6. 

#73 Cliff Robertson. 
Robert Vaughn. Roy 
Scheider. Jason 
Robards. Hamill 2. S5. 

#74 Molly Ringwald. 
Michael Ironside. 
Malcolm McDowell. 
L Semple1.S5. 

#75 Nancy Allen. John 
Lithgow. McQuarrie. 
George Lazenby. 
Semple 2. S5. 

#76 Buster Crabbe. 
Sybil Danning. S6. 

#77 Phil Kaufman. 
Chuck Yeager. Tom 
Baker. Trumbull. S5. 

#78 Ferrigno. Scott 
Glenn. Nick Meyer. 
Arthur C. Clarke. 
Trumbull 2. Lance 
Henriksen. S5. 

#79 Dennis Quaid. 
Kershner. Jon 
Pertwee. David 

Hasselhoff. S5. 

#80 Billy Dee Williams. 
Anthony Ainley. Jedi 
FX 1.S5. 

#81 Alan Dean Foster. 
Fred Ward. Veronica 
Cartwright. Greystoke. 
Buckaroo Banzai. S5. 

#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi FX 2. S4. 

#83 Kate Capshaw. 
Robin Curtis. Fritz 
Leiber. Marshall. Dr. 
Who. V. S10. 

#84 8th Anniversary. 
Nimoy. Frank Oz. 
Chris Lambert. Marc 
Singer. B. Banzai. Jedi 
FX 3. V S6. 

#85 Jim Henson. Joe 
Dante. Jeff Goldblum. 
Bob Zemeckis. Ivan 
Reitman. S5. 

#86 Peter Weller. 
Lenard. John Sayles. 
Chris Columbus. Rick 
Moranis. Jedi FX 4. 

#87 Ghostbusters FX. 
Kelley. Prowse. David 
Lynch. 2010. B. 
Banzai. S5. 

#88 Terminator. 
Kelley 2. Keir Dullea. 
V. Dune. Gremlins. S6. 

#89 Jane Badler. 

Helen Slater. Patrick 
Troughton. Jim 
Cameron. Irish 
McCalla. Starman. B. 
Banzai. Terminator. S5. 

#90 Scheider. Karen 
Allen. Ironside. Dean 
Stockwell. Pinocchio. 

#91 Koenig. Michael 
Crichton. V. Dune. 
Gremlins. Terminator. 

#92 Carpenter. Tom 
Selleck. Gilliam. Brazil. 
Barbarelia. S5. 

#93 Donner. Lithgow. 
John Hurt. Robert 
Englund. Simon Jones. 
Dr. Who. Jedi FX 5. 
M. Python. S10. 

#94 Doohan. William 
Katt. Sayles. John 
Barry. Michelle Pfeiffer. 
V. Jedi FX 6. S5. 

#95 Grace Jones. 
Butrick. Hauer. 
Matthew Broderick. 
Mad Max III. Cocoon. 

#96 9th Anniversary. 
Peter Cushing. Roger 
Moore. Jonathan 
Harris. Tina Turner. 
John Cleese. Cocoon. 
Jedi FX 7. S6. 

#97 Mel Gibson. Scott 
Glenn. Ron Howard. 
River Phoenix. Donner. 
Chris Walken. BTTF 

#98 Michael J. Fox. 
Dante. George Miller. 


Guttenberg. S5. 

#99 Anthony Daniels. 
Zemeckis. "Cubby" 
Broccoli. Mad Max. S5. 

#100 Lucas. Nimoy. 

Harryhausen. Ellison. 
Roddenberry. Irwin 
Allen. Nichols. 
Cushing. S6. 

#101 Ellison. Ridley 
Scott. Sting. Roddy 
McDowall. Macnee. 
Takei. Fred Ward. S5. 

#102 Spielberg. Mel 
Blanc. Michael 
Douglas. Allen 2. Alley. 
Doug Adams. Peter 
Davison. S5. 

#103 Daryl Hannah. 
Hauer. Bennett. Bottin. 
Elmer Bernstein. S5. 

#104 Peter Mayhew. 
Stephen Collins. Ken 
Johnson. V. Outer 
Limits. T. Zone. S5. 

#105 Lambert. Colin 
Baker. Jonathan 
Pryce. Grace Lee 
Whitney. Planet of the 
Apes. UEP Guide. 
Japanimation. S5. 

#106 Nimoy. Tim 
Curry. Clancy Brown. 
Terry Nation. ALIENS. 
Japanimation. S5. 

#107 Henson. Tom 
Cruise. Terry Dicks. 
W.D. Richter. Jean M. 
Auel. ALIENS. S5. 

#108 10th Anniversary. 
Roddenberry. Martin 
Landau. Chuck Jones. 
Kurt Russell. Rod 
Taylor. David Hedison. 
Michael Biehn. BTTF. 

#109 Henson. 
Carpenter. Sigourney 
Weaver. Ally Sheedy. 
Takei. Melanie Griffith. 

#110 Bradbury. 
Cameron. Cronenberg. 
Nimoy. Geena Davis. 
Bob Gale. S5. 

#111 Columbus. Sarah 
Douglas. Nick 
Courtney. Martin 
Caidin. Trek IV. S10. 

#113 Doohan. Robert 
Bloch. Rick Baker. The 
Wizard. Little Shop of 
Horrors. Starman TV. 

#114 Nimoy. Guy 
Williams. Robert Hays. 
Gareth Thomas. S50. 

#115 Kelley. Chris 

Reeve. Jenette 
Goldstein. Tom Baker. 
Carpenter. ALIENS. 
S125. Very rare. 

#116 Nichols. Majel 
Barrett. Robin Curtis. 
Whitney. Paul Darrow. 
Ray Russell. Dr. Who. 

#117 Catherine Mary 
Stewart. Lenard. Adam 
West. Nation. Frank 
Oz. RoboCop. S5. 

#118 Shatner. Rod 
Taylor. Jeff Morrow. 
Michael Keating. D.C. 
Fontana. GRR Martin. 

#119 Takei. Kerwin 
Matthews. Doc 
Savage. S5. 

#121 Reeve. Mel 
Brooks. Dante. 
Lithgow. Weiler. Karen 
Allen. Jacqueline 
Pearce. Henriksen. 

#122 007 Film Salute. 
Martin Short. Duncan 
Regehr. RoboCop. 
Lost Boys. Snow 
White. S50. 

#123 Nancy Allen. 
Dolph Lundgren. Tim 
Dalton. RoboCop. 
STTNG. S50. 

#124 Burt Ward. Kevin 
McCarthy. Gary 
Lockwood. Courtney 
Cox. STTNG. S15 

#125 Bruce Dern. 
Gerry Anderson. 
Carpenter. Running 
Man. Princess Bride. 
Cameron. S6. 

#126 Marina Sirtis. 
Macnee. Bill Paxton. 
Michael Praed. Robert 
Hays. Maureen 
O'Sullivan. B&B. S5. 

#127 Lucas. 
Harryhausen. Gates 
McFadden. Peter 
Davison. RoboCop. 

#128 Ron Perlman. 
Weller. Paul Darrow. 
Koenig. James Ear! 
Jones. Prowse. 
William Campbell. 
John de Lancie. 
Bradbury. S25. 

#129 William Windom. 
Wil Wheaton. Robert 
Shayne. Michael 
Cavanaugh. Starman. 
RoboCop. S50. 

#130 Denise Crosby. 
Pertwee. Caroline 
Munro. Jack Larson. 
Tim Burton. Judge 
Reinhold. B&B. Blake's 
7. S50. 

#131 Jonathan Frakes. 
Hays. Geena Davis. 
Larson 2. B&B. 
RoboCop. S5. 

#132 12th Anniversary. 
Ron Howard. Russ 
Tamblyn. Alan Young. 
Janet Leigh. Colin 
Baker. RoboCop. 
Roger Rabbit. 
Beetlejuice. STTNG 
FX. S6. 

#133 Bob Hoskins. 
Sirtis. C.J. Cherryh. 
Goldsmith. Jane 
Badler. Patrick 

Culliton. Roy Dotrice. 
R. Rabbit V B&B. 


#134 Zemeckis. 
Crosby. Cherryh 2. 
James Caan. Ken 

Johnson. Sylvester 
McCoy. Big. $5. 

#135 R Rabbit B7. 
Patrick McGoohan. 
Jerry Sohl Maria 

Kristen. Van Williams. 
Prisoner. Alien Nation. 

#136 Mandy Patinkin. 
Carpenter. Sohl. Jock 
Mahoney. Trek: The 
Lost Generation. S5. 
#137 Marshall. War of 
the Worlds. S5. 

#138 Michael Dorn. 
John Larroquette. 
Jean- Claude Van 
Damme. John Schuck. 
Lenard. Phyllis Coates 
1 John Colicos. R. 
Rabbit. C. Power. B7. 

#139 Patrick Stewart. 
Gareth Thomas. 
Landau. Coates 2. 
Nigel Kneale 1. 
Phantom of the Opera. 
Superboy. S5. 

#140 Bill Murray. 
Kneale 2. Wheaton. 
Rex Reason. Eric 
Stoltz. B&B. 
Munchausen. S5. 

#141 Diana Muldaur. 
Bennett. Jared Martin. 
Amanda Pays. Gilliam. 
Kneale 3. Fly II. $5. 

#143 Perlman. Kelley. 
Robert Picardo. Tracy 
Torme. Indy III. 
Batman. SF 
costuming. B&B.S50. 

#144 1 3th Anniversary. 
Shatner. Richard 
Chaves. Kim Basinger. 
Harry Harrison. Roger 
Rabbit FX 1 . Indy III. 
Batman. $6. 

#145 Tim Burton. 

Moranis. John Rhys- 
Davies. Ron Cobb. 
William Gibson. 
Shatner 2. Tim Dalton. 
RR FX 2. Batman. S6. 

#146 Phil Akin. Cesar 
Romero. Doohan. 
Andre Norton. Takei. 
Matt Frewer. Abyss. 
Batman. RR FX 3. 

#147 Danny Elfman. 
Nimoy. John Varley. 
River Phoenix. Norton 
2. Koenig. CD Barnes. 
HR FX 4. B7 EP 
Guide. S10. 

#148 Tony Jay. 
Chaves. Biehn. Julie 
Newmar. David 
Warner. RR FX 5. B7 
EP Guide 2. S75. 

#149 Yvonne Craig. 
Robert Lansing. BTTF 
2. RR FX 6. S5. 

#150 Zemeckis. Ben 
Bova. Dick. Curt 
Siodmak. Richard 
Matheson. Cameron. 
Ken Johnson. Nation. 

#151 Michael J. Fox. 
Crosby. Matheson 2. 
Jim Coburn. Nichols. 
Gary Conway. Gary 
Graham. $5. 

#152 Leslie Stevens. 
Gareth Hunt. Jay 
Acovone. A Nation. 
B&B. "Real Indy.' S5. 

#153 Bradbury. Scott 
Bakula. Edward Albert. 
Lee Meriwether. B&B. 
A Nation. S5. 

#154 Ron Koslow. 
Sally Kellerman. T. 

Recall. RCop 2. 
Gremlins 2. BTTF III. 
Red October. B&B. S5. 

#155 Phil Farmer. 
Nancy Allen. Paul 
Winfield. Colm 
Meaney. Ironside. 
Flatliners. BTTF III. S5. 

#156 1 4th Anniversary. 
Farmer 2. 
Nielsen. Dante. Bob 
Gale. Dorn. Starman 
EP Guide. S6. 

#157Weller. Paul 
Verhoeven. Ray 
Walston. Ronny Cox. 
Marshall. Flatliners. 

#158 Chris Lee. 
Kershner. Joe 
Haldeman. T Recall. 
Darkman. Flatliners. 

#159 Orson Scott 
Card. Nicolas Roeg. 
M. Filler. Leiber. Land 
of Giants writers 1 . T 
Recall. S10. 

#160 Whoopi 
Goldberg. Kim Hunter. 
GRR Martin. Eric 
Pierpoint. Ghost. 
Flash. Giants 2. S5. 

#161 Jane Wyatt. 
Martin 2. Suzie 
Plakson. Liam Neeson. 
Ghost. Robin of 
Sherwood. S6. 

#162 Dean Stockwell. 
Patrick Swayze. LeVar 
Burton. Val Guest 1. 
Don Matheson. 
Predator 2. Ghost. S6. 

#163Mumy. Guest 2. 
McFadden. B&B. B7. 

#164 Dan Aykroyd. 
John Agar. Richard 
Denning. Tim Burton. 
Jerome Bixby. Alien 
Nation. Creature from 
Black Lagoon. S6. 

#165 Phil Dick. FX2. 

#166 Robin Hood. 
Rocketeer. Mark Ryan. 
WWorlds EP Guide. 

#167 Pertwee. Mary 
Creature. 6. 

#168 1 5th Anniversary. 
Terminator 2. Robin 
Hood. Lost in Space. 

Michael Moorcock. S7. 

#169 Schwarzenegger. 
Roald Dahl. AlanArkin. 
BHI& Ted 2. RoboCop 
3. Dr. Who. $7. 

#170 Cameron. Robert 
Patrick. Alex Winter & 
Keanu Reeves. T2. 
Trek IV. BTTF. Dr. 
Who. T. Tunnel writers 

#171 Brent Spiner. 
Gilliam. Fred 
Saberhagen. T2. T 
Tunnel writers 2. S25. 

#172 Koenig. Brian 
Aldiss. B7. B&B. S6. 

#173 Kelley. Frakes. 
Teh Garr. Bakula. 
Addams Family. Alien 
Nation EP Guide. S10. 

#174 Stewart. Nimoy. 
Takei. Lambert. Hook. 

#175 Roddenberry 
salute. Shatner. Dorn. 
Nichols. Macnee. Star 
Wars. $8. 


#1 76 Anthony Hopkins. 
Doohan. Kim Cattrall. 
Wheaton. Jon Lovitz. 
Kathy Ireland. S7. 

#177 Nick Meyer. 
Carpenter. Tarzan. 
Invisibility. S7. 
#178 Batman Returns. 
Honey, I Blew Up the 
Kid. U. Soldier. Young 
Indy. S7. 

#179 Tim Thomerson. 
Robert Colbert. B&B. 
Batman Returns art 
portfolio. S8. 

#180 1 6th Anniversary. 
Tim Burton. James 
Darren. Mariette 
Hartley. Henriksen. S7. 

#181 Asimov tribute. 
Deanna Lund. Stuart 
Gordon. Lundgren. 
Voyage writers 1 . S7. 

#182 Lloyd Bridges. 
Jean Claude Van- 

Damme. Voyage 
writers 2. S7. 

#183 Michelle Pfeiffer. 
Danny DeVito. Walken. 
Tim Powers. Chad 
Oliver. Young Indy. 
Voyage writers 3. S7. 
#1 84 Blade Runner 
salute. Ridley Scott. 
Stephen Donaldson. 
Quantum Leap. S7. 

#185 Dracula. 
Highlander. Old Indy. 
Zemeckis. Robert 
Sheckley. Body 
Snatchers. Immortal 
writers 1. S7. 

#186 Stewart. Anne 
Francis. Adrian Paul. 
DS9. Aladdin. Red 
Dwarf. Immortal 2. S7. 

#187 Rick Berman. 
Gordon Scott. Craig 
Charles. DS9. Time 
Trax. S7. 

#188 Terry Farrell. 
Doug Adams. Chris 
Barrie. Andreas 
Katsulas. Bennett. 

#189 Dale Midkiff. 
Robert Patrick. DS9. 

Shimerman. Mark 
Goddard. Anne 
McCaffrey. Danny 
John-Jules. Daniel 
Davis. Koenig. S10. 

#191 Rene 
Auberjonois. Lucas. 
Jurassic Park. S7. 

#192 1 7th Anniversary. 
Spiner. Michael 
Crichton. Frede/ik 
Pohl. S7. 


Chris Lloyd. Jurassic 
Park. S7. 

#194Fay Wray. Brian 
Bonsall. Jurassic Park. 

#195 Filler. Michael 


Issue 2-8 & 10 are reprinted. 

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Praed. Ann Robinson. 
25 best Next 
Generation. S7. 

#196 Sylvester 
Stallone. Sirtis. 
Richard Hatch. 
Richard Llewelyn. Alan 
Hunt. S7. 

#197 Bruce Campbell. 
Michael Whelan. Peter 
Davison. Jonathan 
Brandis. Wesley 
Snipes. S25. 

#198 Lockhart. James 
Bama. Ted Raimi. 
Jackie Lane. S7. 

#199 Nana Visitor. 
McCoy. John Barry. 
John D'Aquino. 
TekWar. S7. 

#200 200 Most 
Important People in 
SF. Clarke. Gibson. 
Gale Anne Hurd. Tim 
Burton. Dante. Bova. 
Gilliam. S15. 

#201 Siddig El Fadil. 
Chris Carter. Colin 
Baker. Red Dwarf. 
X-Files. S7. 

#202 David Duchovny. 
Mira Furlan. Stephanie 
Beacham. Anneke 
Wills. Ernie Hudson. X- 
Files. S7. 

#203 Rod Serling. Ray 
Liotta. Jerry Doyle. 
Marco Sanchez. Mars 
Attacks. S7. 

#204 Claudia 
Christian. Julius Carry. 
Rockne O'Bannon. 
Frakes. McFadden. S7. 

#205 Michelle Forbes. 
Lionel Jeffries. Gerry 
Anderson. The Mask. 
Rare! S75. 

#206 de Lancie. Peter 
Beagle. TimeCop. 
Invaders writers 1 . S7. 

#207 Avery Brooks. 
Van Damme. 
Moorcock. Invaders 

CD. Barnes. Robert D. 
McNeill. Jessica 
Steen. Greg Evigan. 
Lori Petty. S7. 

#214 Mumy. Roxann 
Biggs-Dawson. Peter 

writers 2. S15. 

#208 Michael O'Hare. 
Ted Shackelford. The 
Ed Wood story. S7. 

#209 StarGate. 
Generations. Helena 
Bonham Carter. 
Andrea Thompson. S7. 
#21 Adam West. 
Barrett. Nichols. 
Clancy Brown. Mario 
Van Peebles. X-Files. 
MST3K. S7. 

#211 Voyager. Russell. 
Robert Wise. Jerry 
Hardin. Kenneth 
Branagh. Debrah 
Farentino. Kevin 
Sorbo. Michael 
DeLuise. S7. 

#212 Kate Mulgrew. 
Shatner. Stewart. 
Bakula. Lambert. 
Geraint Wyn Davies. 
X-Files comics. S10. 

#213 Gillian Anderson. 
Bruce Boxleitner. 
Malcolm McDowell. 

DeLuise. Rebecca 
Gayheart. John 
Kapelos. Species. 
Tank Girl. Outer Limits. 

#215 Duchovny. 
Michael Gough. 
Donald Pleasence. 
Nigel Bennett. Edward 
Kerr. Congo. S7. 

#21 6 1 9th Anniversary. 
Picardo. Antonio 
Sabato Jr. Bill Pullman. 
Joel Schumacher. 
Batman Forever. $7. 

#217 Marshall. Chris 
O'Donnell. Ron 
Howard. Nimoy. 
William Alland 1. 
Judge Dredd. 
Species. S7. 

#218 Stan Winston. 
Kennedy. Alland 2. 
Waterworld. S7. 

#21 9 Alland 3. Writing 
Lost in Space 1 . S7. 

#220 Writing US2. $7. 

#221 November. S7. 

#222 December. S7. 

#223 January 1996. 

#224 February. S7. 


#225 March. S7. 
#226 April. S7. 
#227 May. S7. 

Day, in which he appears in only a handful of 
scenes, is yet another step. 

"'In a way, this has all been a transitional 
step away from Star Trek." he concedes. "But 
I haven't really been that cautious in the 
things I've taken since The Next Generation 
ended. Everybody was asking me if I thought 
I was going to be typecast after Star Trek 
ended. Initially, I never gave that a thought. 
But then. I did and I thought, 'Gee! Am I 
going to be typecast?' But so far I haven't 
found that. Generally, what I have found is 
that if I go into an office to audition for some- 
thing, they don't know who I am. It's like I'm 
the new kid in town and I'm starting all over 
again. In a sense, wearing the Data makeup 
and contact lenses for seven years has actual- 
ly done me a favor. 

"In the past year. I've done a bit of work, 
a bit of play and I've traveled a lot. I had the 
opportunity to travel all over the world to 
promote Generations. It was nice, because I 
haven't had the chance to do much of any- 
thing since The Next Generation started. I'm 
getting used to the idea of having some free 
time and I'm enjoying it. 

"We're obviously going to be doing 
another Star Trek movie, and I'll probably be 
back in Data makeup by March or April," he 
continues. "But I don't really feel stressed at 
the prospect of doing it because, after seven 
years of working really hard, I had the luxu- 
ry, over the past year, to not have to take 
everything that came my way. I could sort of 
pick and choose and just do the things that I 
thought would be amusing." 

Generation Acting 

The actor, in fact, is so stress-free that he 
does not flinch at the notion of Star Trek: The 
Next Generation continuing as an ongoing 
part of his life for years to come. "We're 
going to do another movie and probably 
another movie after that." 

He's not comfortable with talking about 
the particulars of the upcoming Next Genera- 
tion movie, now being written by Brannon 

Hollywood producers may be losing 
sleep trying to find that elusive "Brent 
Spiner type." But if they are. it's news 
to Spiner. 

"I don't know if there is such a thing." 
chuckles Spiner. dressed to the nines in nerd 
chic and a super-long grey wig for his role of 
scientist Dr. Okin in the alien invasion movie 
Independence Day, the new film from Star- 
Gafe-meisters Roland Emmerich and Dean 
Devlin that's now shooting for a summer 
1996 release. "If there is such a type, I would 
love to know, because I think I would be right 
for those parts." 

It has been a year since Spiner hung up 
his Data persona in Star Trek Generations. 
following seven years on Star Trek: The Next 
Generation. His transition back into the 
world of working actor has, thus far. been 
measured in small steps: Minor roles in 
Kingfish and the independent movie Pie in 
the Sky. Guest shots on the sitcoms Mad 
About You and Dream On. An appearance on 
Deadly Gaines. His stint in Independence 

All right everybody, 
let's give Brent Spine 
a hand! Not only has 
he survived seven 
years of gold makeup 

but he even kept his 
sense of humor. 

STARLOG/December 1995 27 

- •■■>-» — -^ '<': 

After his lengthy Star Trek stint, Spiner 
can proudly state, "I'm not looking to play 
normal human beings." A villain on UPN's 
Deadly Games is right up his alley. 

Braga and Ronald Moore from a story they 
developed with Rick Berman. "To be honest, 
I don't know a thing about it. I don't know if 
I will have a bigger role. I had a pretty nice 
role in the last one and I'm pretty sure I'll 
have a nice role in the next one. What I do 
know is that since we won't have anyone 
from the original series in the movie, every- 
body's role will presumably be bigger and 
hopefully better." 

In hindsight. Spiner has mixed feelings 
about Star Trek Generations. "Basically 
was happy, although I was not in total agree- 
ment with the way the powers that be chose 
to go with the first Next Generation movie. I 
thought Generations is where we should 
have gone eventually, but Paramount decided 
that's where the first movie should go." 

Spiner reports, contrary to rumors, that 
the final season of Star Trek: The Next Gen- 
eration was not any more emotional or 
stress-filled than the previous six. "It was just 
another season as far as we were concerned. 
We knew it was going to be the end, but it 
wasn't particularly emotional, because four 
days after we finished the last episode, we 
were already shooting the movie." 

He turns reflective as he looks back on 
The Next Generation. "We did 178 hours of 
Star Trek television and a two-hour Star Trek 

correspondent, is the author of The Long 
Run: The Story of the Eagles. He profiled 
Kevin Costner in issue #219. 

f Looking back on Star Trek Generations, Spiner says, "Basically, I was happy, although 
was not in total agreement with the powers that be." 

movie. That's a lot of Star Trek and, in my 
opinion, 180 hours of anything is enough. 
But having the option to come back every 
couple of years and work for two or three 
months on a Star Trek movie... well, that's 
fine with me. For me. it's not so much a mat- 
ter of keeping my hand in. Star Trek, for me, is 
just a good job and I feel pretty good about 

"I've always looked at Data as nothing 
more or less than a really good acting job." he 
offers. "I know it would be nice for people to 
read that I'm a real Star Trek fan or that I'm 
really plugged into Star Trek on the same level 
that the fans are. But I'm not now nor have I 
ever been a Star Trek fan. For me, it was a very 
good job that I worked on 16-17 hours a day. 
Star Trek felt like a job, and that's all it has 

Convention Stardom 

During the television run of The Next Gen- 
eration, the actor's non-fan approach mani- 

fested itself in a much lower profile than other 
TNG cast members when it came to press 
interviews and Trek convention appearances. 
Spiner claims that was all by design. 

"My feeling was that if you're the kind of 
actor I am, which is basically a character actor. 
I would not be served particularly well by 
exposing myself that much. I didn't really 
seek public awareness of myself, because I'm 
not a star-quality type of guy. People like 
Patrick [Stewart] walk into a room and you 
can't help but notice. I prefer to walk into a 
room and have nobody notice. I think it ulti- 
mately serves me better as an actor not to have 
people be too familiar with me." 

And while he has occasionally hit the con- 
vention circuit, he claims in all candor that it 
isn't something that has limited his career 
options. "Conventions are made up of a very 
selective audience of people who are devotees 
of Star Trek. Conventions are not something 
that bleeds over into other areas of your career. 
It's simply something that's isolated into the 

28 STARLOG/December 1995 

"In a sense, wearing the Data makeup for seven years has actually done me a favor, ; 
Spiner explains. He has avoided typecasting. 

convention hall you walk into that day. It's not 
like all the producers in Hollywood are going. 
'Oh that's the guy who does Star Trek conven- 
tions.' Star Trek is not an industry show. It's 
not something producers and casting people 
watch. Hollywood producers don't even know 
about Star Trek. What I found when the show 
was over was that the rest of Hollywood 
thought I had been on vacation for seven \ ears 
and wanted to know where I had been." 

In terms of his current acting preferences. 
Spiner is adamant in saying that, much like his 
character in Independence Day, the more off- 
the-wall the better. "I'm not looking to play 
normal human beings. I'm looking for some- 
thing with an angle to it. If it's a normal 
human being, my feeling is, 'Why me? Why- 
should / play this part?' But if I'm offered 
something that's a bit unusual, I feel that I 
could spend a lot of time doing that." 

His future plans call for writing, not direct- 
ing ("I don't think I was put on this Earth to 
direct"), and acting, be it in science fiction or 

any other genre. "I've never been a huge SF 
aficionado. If somebody hires me to do sci- 
ence fiction, I'll do the part. As far as I'm con- 
cerned, the fact that I ended up doing science 
fiction for seven years was purely an acci- 

"I'm not now nor 

have I ever been a 

Star Trek fan." 

Brent Spiner, ever the realist, is quite 
grateful for the exposure Star Trek: The Next 
Generation has given him. But he isn't one to 
ultimately get carried away with it. "I've 
been an actor since 1969. It's like a roller 
coaster. Sometimes it has been good and 
sometimes it has been not so good. I think 
one of the reasons I've been around this long 
and will probably continue to be around is 

"My feeling was that if you're the kind of 
actor I am," Spiner offers, "I would not be 
served particularly well by exposing 
myself that much." 

that, as an actor, I've never been particularly 
hot. So, there's no fear on my part that I'm 
ever going to cool off." .A, 

STARLOG/December 1995 29 

Chris Carter 
continues to believe 

in his mission- 
scaring the world. 

" : ^i 

"This is wha 
always want 
to be doing," 
states X-Files 
creator Chris 
Carter, who is 
back calling the 
shots i 
third si 

When Chris Carter first began his 
quest to create "something very, 
very scary" for the Fox network in 
1992, recalling the childhood nightmares 
inspired by the monster-hunting show 
Kolchak: The Night Stalker, he had no 
inkling that a new cult was about to be born. 
But Carter's journey to that point had been a 

JAMES SWALLOW is a British writer. This 
is his first article for STARLOG. 

30 STARLOG/December 1995 

long one, from surfing journalist to being 
recruited by Walt Disney Studios as a screen- 
writer. At Disney, he penned TV movies, 
pilots and sitcoms, and after some production 
experience, his success as a teleplay writer 
led him to a contract at Fox and an offer to 
create an all-new show for the fall 1993 sea- 
son, The X-Files. 

"This is what I always wanted to be 
doing," notes Carter. "When I came to Holly- 
wood. I had a native talent for 'youth dia- 

logue,' having spent so much time on the 
beach with that [surfing] subculture. It was 
something I could do and I became a little 
pigeonholed. People kept hiring me to do it." 
He used the opportunities to refine his 
screenwriting skills and watch for a suitable 
creative avenue to open. "When you first 
come to Hollywood, you're happy to be paid 
to write. I was just learning my craft, and 
finally I got a chance to do what I wanted to 
do. The X-Files is the result of that." 

Certainly, the show's blend of supernatur- 
al shadowplay and '90s angst is a far cry 
from bright Sunday-night laughs on the Dis- 
ney Channel, and Carter's dream show 
wowed the critics and fans alike. But despite 
its fantastical leanings, the creator of The X- 
Files was never an SF devotee. "I never read 
the classic SF novels." he says, but then 
admits to perhaps having read "one of each" 
of Ursula K. LeGuin's and Robert Heinlein's 
works in earlier days. "I really wasn't an SF 
buff," and he adds as a postscript that he has 
"never watched an episode of Star Trek." 

What was conceived as a program in the 
mold of classic exercises in paranoia like The 
Invaders, Project UFO, The Outer Limits 
and Kolchak has become a mainstream hit 
with enough impact to net Fox a slew of 
awards and widespread critical acclaim. It's 
telling when you consider that TV critics 
gave scant comment to The X-Files when it 
arrived in the traditionally barren Friday 
night slot, only to blast other shows a year 
later for their weak attempts to ape Carter's 
creation. While newer series seek to catch 
some of the same lightning in their bottles. 
Tlie X-Files has made the grade first, tapping 
into the "conspiracy theory/end of the mil- 
lennium" edginess of the viewing public. 
Carter was stunned by the show's meteoric 
rise to fame. "It's amazing to me; it still 
amazes me every day." 

Season one saw Carter (who discussed 
the series in STARLOG #201) wearing many- 
hats on the production staff, acting as execu- 
tive producer while also scripting several 
episodes (the pilot, "Deep Throat." "Dark- 
ness Falls," "The Erlenmeyer Flask," "The 
Jersey Devil" and "Space"). Global fame 
chased the X-Files phenomenon as the show 
was syndicated internationally. "If there is 
one thing that gives the series a broad, uni- 
versal appeal, it's that we're all afraid of the 

same things. So what scares 
you in America scares you 
in Great Britain and scares 
people in Germany, Aus- 
tralia and in the 60 coun- 
tries where the series is 
playing right now," notes 

The pressure on the staff 
at the X-Files production 
office keeps pace with the 
show's ongoing applause. 
"In a way. it really hasn't 
dawned on me," Carter 
says, describing his 
response to the success. 
"The show found its way 
into many different areas 
and we're getting quite a bit 
of press, but to be honest 
it's still the same really 
demanding, hard job. It 
doesn't make it any easi- 
er—in fact, it makes it 
harder. The success is great, 
but the trick will be to keep 
reinventing the work that 
we do." 


Carter purposefully ended the first season 
with a crucial cliffhanger: the files were shut. 
Mulder and Scully split apart and the myste- 

rious Deep Throat (Jerry Hardin) assassinat- 
ed. Carter has noted, "You can't go too far— 
but you've got to go further than just 'far 
enough." " 

The second season provided no easy 
answers while turning the series' spotlight 
inwards, examining character and motivation 
more closely. The twists prompted by Gillian 
Anderson's pregnancy (Scully's abduction) 
and the return of Samantha Mulder (in the 
"Colony" and "End Game" two-parter) are 

"I certainly have my 

ideas of how to do a 

companion piece for 

The X-Files." 

only the beginning. "One of the most popular 
parts of the show are the 'Mulder and Scully 
vs. the Government' stories," notes Carter. 
"What the government knows that they're 
not telling them, the search for Mulder's sis- 
ter, these all create those nice arc stories that 
give the show a backbone. It creates a sort of 
anthological feel." 

Carter worked once more on crafting 
many pivotal episodes in season two, includ- 
ing "The Host," "F. Emasculata" and the 
Scully-focused "Irresistible," as well as writ- 

A Golden Globe Award for Best Drama 

is only one sign of the X-Files' 

success. "It still amazes me every day," 

says Carter (holding the Globe). 

ing and directing the tense hostage drama 
"Duane Barry." 

Location and studio work began to show 
more scope— scenes in places like Puerto 
Rico, the New Mexico desert, the Arctic Cir- 
cle (complete with nuclear submarine and 
more than 100 tons of real snow) and the 
North Sea portrayed a trend toward more 

"The show is a 




exotic story locales, but the crew never actu- 
ally left Canada. "Everyone kept saying, 
'Let's do an episode in Hawaii!' " recalls 
Carter. Inventive use of CGI and composite 
imaging in the second-season finale "Ana- 
sazi" effectively created the illusion of Mul- 
der's motorcycle ride through rocky deserts. 
"You'll never figure out how we didn't leave 

On-the-street evidence of the ever- 
increasing appeal of The X-Files is some- 
thing Carter encounters infrequently, thanks 
to his impressive workload. "I've been living 
in a time-waip over the last three years. Peo- 
ple ask me dates, they ask me to think back 
and it's all just one big blur! I haven't been 
able to step away from it enough to appreci- 
ate it." Can he describe what he sees as the 
essence of The X-Files, the draw for viewers? 
"I think it's really the secret to good televi- 
sion and sood entertainment: We tell inter- 

32 STARLOG/December 1995 

esting stories well; we have 
very interesting characters 
played by excellent actors. I 
think that's the simple 
secret to it all." 

The second season also 
found Carter teamed with 
writing partners from unex- 
pected corners. David E. 
Kelley of CBS' Picket 
Fences came together with 
Carter to mesh their two 
series with stories of cattle- 
town weirdness in Wiscon- 
sin. "It came about in a 
strange way," Carter says of 
the idea. The Picket ™ 
FenceslX-Files series | 
crossover between the I 
stories "Away in the % 
Manger" and "Red I 
Museum" sadly never | 
really happened, when 
CBS refused to accept a 
Mulder cameo on the 
grounds that Fox's X- 
Files was a Friday-night 

"We thought it 
would be the first cross- 
network cross-pollina- 
tion, but it didn't work 
out that way. CBS 

thought it would have a negative impact 

on their programming opposite The X- 

Files," reveals Carter. 

Actor David Duchovny also lent a 

hand with ideas and input on "Colony" 

and "Anasazi." "David has a terrific story 
sense," Carter says. "He has good ideas. It's 
a nice way to hang out and spend time 
together and the show has benefitted." While 
Anderson expresses an interest in producing 
rather than writing or directing, Duchovny is 
again ready to write. "It worked," says Carter 
of the partnership, "so why not try it again?" 
Duchovny has made no secret of his opin- 
ion on the unexplained, which is poles apart 
from his believer alter-ego Mulder, and 
Anderson (who, by some strange quirk, also 
plays a viewpoint opposite her own) is much 
more open-minded. But what of Carter's 
thoughts on the weird and strange— what's 
his take on it all? "I'm a disbeliever, a skep- 

: by nature, but I'm desperate for a paranor- 
nal experience! I would love nothing more 
tian to have something unexplainable happen 
me and shake my faith." Recalling the 
wording on a UFO poster in Mulder's base- 
nent office, Carter feels that "Like Fox Mili- 
ar, I really want to believe, I want to have a 
ligious experience." 
Season two's intense finale "Anasazi" 
;nded as a nail-biter, with Mulder apparently 
destroyed along with a boxcar-full of 
'allegedly) alien bodies, and a mysterious 
ied document capable of blowing the lid 
off the government's UFO coverups. "It's a 
cliffhanger, and there's a big dramatic ques- 
:ion mark about what happened to Fox Mul- 
er." says Carter. His whammy season ender 
•rought in favorite supporting players like the 
ubiquitous Cancer Man. Byers. Langly and 
Frohike— the Lone Gunmen— Agent Alex 
jycek (last seen in "Ascension"). Skinner 
rid Mulder's father. 
"We began season three with a big rwo- 
ter, which is a continuation of the season 
vo finale. The question about Mulder's fate 
; answered in episode one. but we don't stop 
here — we follow that into episode two. I'm 
ailing it the X-Files mini-series!" Beyond 
hat? "For the rest of the year, we want to get 
ack to what we do best, which is telling 
od, scary stories, and telling them in ways 
hat are completely unfamiliar." 

As for follow-ups to previous X-Files. 
Carter reveals, "We might surprise you with a 
sequel or two. We had a great success with the 
sequel to 'Squeeze,' 'Tooms." I think you 
might see a sequel to 'Irresistible." and there 
are a couple of others that I'm considering." 
Carter has written three of the first five 
episodes, directing the fifth show as he did in 
season two with "Duane Barn." "I'm super- 
stitious!" he jokes. 


The third year has introduced a corre- 
sponding increase in budget for The X-Files, 
although it's still much lower than those of its 
SF TV rivals (not to mention other FBI 
departments). "Our budget has grown: it's a 
little bit more expensive to do the show, but 
it's not like they're throwing money at us. 
We're still trying to do the same show for the 
same money, it just takes a few more people." 

Detractors of the series have looked to the 
recurring narrative themes in The X-Files as a 
means to demonstrate the series' limitations, 
where story concepts fall into set categories: 
UFO tales, monster stories, conspiracy yarns. 
"We're going to try to break out of that 
mold," Carter announces, but he doesn't see it 
as a limitation. "The paranormal is the para- 
normal. UFOs are UFOs. Those are the sta- 
ples of the show. Those stories are the 
lifeblood of the show, but we'll come at them 

"We'll tell stories about ESP, reincarna- 
tion, psychokinesis, any of these things that 
have become the most identifiable part of 
paranormal, unexplained phenomena. We 
will use those things, but use them in different 
ways. You will see themes, but you will also 
see them treated in new ways. I think this is 

what really distinguishes the show [from its 
competition] ." 

From the series' inception, Carter has had 
a very clear view of not only the direction the 
show should take, but of the characters who 
populate it. Many TV series owe their success 
to a single-minded creator in control, but 
Carter maintains that he doesn't subscribe to 
that method. "I discuss everything with 
everyone. The show is a completely collabo- 
rative process that I try to keep a great 
overview on— there are so many talented 
people who work on the show and who have 
made it a success. Everyone has input, and I 
just try to make sure that it all integrates into 
the vision that I originally had." 

thought that turned out well." He points to 
"Sleepless," "Irresistible," the "Colony"/ 
"End Game" two-parter, "Fresh Bones" and 
"Humbug" as good X-Files fare. "The second 
season was filled with terrific shows." 

Like any hot entertainment property, The 
X-Files has created a wave of merchandising 
for devotees eager to proclaim that they trust 
no one. Alongside such mundane items as T- 
shirts and mugs are licensed novels from 
HarperPrism and a comic book series from 
Topps (which is also introducing a licensed 

Charles Grant penned the first two novels, 
Goblins and Whirlwind, which both earned a 
mixed fan response. Carter spent some time 

Looking back over his work to date, 
Carter sees several episodes as standout hits. 
"From the first season, I think 'Beyond the 
Sea' was just a wonderful piece of dramatic 
work." Carter says of the story featuring Brad 
Dourif as a death row inmate with a special 
relationship to Scully. "It worked for me on 
every level. It was extremely well done and I 
was very proud of that." 

With the second season fresher in his 
mind, Carter names several year-two shows 
as favorites. "I really liked 'Duane Barry.' I 

with Grant, "trying to explain who the char- 
acters were," but, in the end, Grant departed. 
To replace Grant, Carter auditioned sever- 
al writers before finally settling on Kevin J. 
Anderson, the author of the Star Wars Jedi 
Academy trilogy (STARLOG #199). "I think 
Kevin is going to be great," says Carter. "He's 
very hard-working, very organized and he 
has done quite thorough and elaborate out- 
lines of the books, something that Grant 
would not do." Anderson's first book, 
(continued on page 64) 

STARLOG/December 1995 33 

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Heroic Passings 

John de Lancie reflects on the life & 
untimely death of Legend. 


John de Lancie is 

philosophical about 

Legend's passing 

into TV history. 

Yes, Legend is officially cancelled." 
sighs John de Lancie, who co-starred in 
the Western fantasy adventure with 
Richard Dean Anderson (STARLOG #216). 
Anderson played Ernest Pratt, a dime novelist 
who creates a heroic literary alter-ego named 
Nicodemus Legend, while de Lancie was 
Janos Bartok. an eccentric European inventor, 
whose elaborate devices provide a bit of sci- 
ence-fictional assistance. 

Sadly, even Bartok's most inspiring cre- 
ation wasn't enough to save Legend from an 
untimely end. After a handful of episodes. 
UPN axed the show, along with all its other 
programming (except Star Trek: Voyager). 
The decision wasn't universally popular with 
many critics, who felt that Legend hadn't 
really been given a chance to find an audi- 
ence, or with cast and crew, who pretty much 
felt the same way. Just ask the outspoken de 
Lancie. who has never been afraid to voice 
his opinions. 

'"I don't think that Legend was the 
absolute greatest show on television." says de 
Lancie, "but I certainly don't think that it was 
a show that if you stacked it up simply on 
merit, should have been cancelled in compar- 
ison to, not only the shows that have been 
given much longer to find their audience— 
we were given three episodes— or the shows 



that it has been replaced with, which are pret- 
ty dreadful." 

Longtime STARLOG readers will proba- 
bly remember that in previous interviews, de 
Lancie has made a point of preferring 
anonymity to regular work in series televi- 
sion. That attitude still hasn't changed much, 
but then again, a high-quality project like 
Legend doesn't land on one's doorstep every 

"It's a tough go. being a regular on a 
series, and more often than not, you're not in 
control of whether the material is any good. 
It's like fishing during the pilot season: 
there's a feeding frenzy that takes place, and 
your line is out there like everyone else's, and 
maybe you end up catching something. Well, 
in that frenzy, you're not always sure whether 
you caught something you really want. That's 
why I've been somewhat reluctant in the past 
about pilot season. 

"I've done eight or 10 pilots in the course 
of the last 15 years, and I can't say that I 
would have been happy if all of them went: as 
a matter of fact, there were a couple that I was 
praying wouldn 't go. That's a negative invest- 
ment of time which sometimes comes back to 
bite you. There's a friend of mine who was on 
a show who said, 'This is perfect. I'll make 
the up-front money, and it will never go. It's 
just some ridiculous show about an alien pup- 
pet.' That became ALF. and she was stuck 
with it. and wasn't happy about that. Certain- 
ly when Legend came around, I was very anx- 
ious to get it. because I immediately 
recognized it as something worth doing." 

The Hero at Sunset 

De Lancie has no difficulty recalling what 
originally attracted him to the colorful role of 
Bartok. "From my point-of-view, I thought of 
it as being the best role in the series, but more 
to the point, I thought it was a terribly well- 
written role. The enjoyment of working on 
well-written material is so rare that it was 

STARLOG/December 1995 35 

really something that I, and frankly, many 
other people Jumped at the opportunity to do 
when they saw the material." 

A major acting challenge for de Lancie to 
overcome was creating a convincing, if not 
entirely 100 percent authentic, accent for the 
European scientist. 'The accent was some- 
thing that was written in," he says. "When 
your first lines in a show are 'I am Janos 
Kristoff Bartok, late of the University of 
Budapest, and the Western Union Laborato- 
ries in New York,' you can't be saying it like 
I've just said it. Nor can you say, 'In my coun- 
try,' and get away with absolutely no accent; 
at least I didn't think you could." 

The actor (also profiled in STARLOG 
#206) admits that a good part of Bartok's 
believability as a character was tied to how 
convincing his vocal inflections were on 
screen. "I was very concerned about that. I 
don't consider myself to be Mr. Accent, but I 
like to think I came up with something that 
was OK. There are people out there who 
could have done the accent better than I did. 
It's a classic actor's quagmire: You have to be 
very concerned about what you can do with 
an accent on a TV show, because unlike a 
movie or a play, you're not dealing with two 
hours. You're dealing with two, possibly 
three or four years, and you just can't come 
up with something that ends up being grating. 

"I personally felt it was important that the 
character have an accent, and I had to come 
up with something that I could live with, but 

more importantly, that the audience would 
hopefully live with and accept. It's part of the 
character's baroqueness, and it was really 
more of a task than anything else. The acting 
was not a big deal, it wasn't all that arduous, 
but coming up with an accent that was fairly 
consistent, when I didn't have an opportunity 
to really rehearse or say the same lines with 
the same accent more than once, was difficult. 
I think I was fairly successful, but I know my 
accent wasn't precisely dead-on." 

Dialect notwithstanding, de Lancie also 
relished the opportunity to develop other 
areas of his character. "I had a lot of input, not 
necessarily into what I said, although I impro- 
vised a fair amount— sometimes to their dis- 
traction—but I certainly had some input into 
the level of enthusiasm that I tried to bring to 
the character. I happen to like characters or 
acting that looks like it's really invested, and 
that's a choice you have to make. Other peo- 
ple on the show made different choices, but I 
tried to make the choice where everything 
was terribly important, very optimistic, and 
'You'll see, everything is going to work out!' 
Those were choices that came from the 

One of de Lancie 's regrets about the series 
is the lack of rehearsal time for key scenes. 
With scripts that relied so heavily on well- 
written dialogue, the actor feels that extra 
rehearsals would have honed the perfor- 
mances to an even greater level. 

"We rehearsed as much as we could," says 
de Lancie. "One of the things that I think was 
most apparent about the show, aside from the 
fact that it was well-written, was that it was 
exceedingly well-shot. Legend looks really 
good, but that came at a price: If you're going 
to have a show that's well-lit, you must take 
the time to light it well, so if I have any 
regrets about it, I wish that we had more time 
to rehearse. 

"What we were doing was very ambitious. 
We were on sets that were always on a new 
location. There was never a lighting package 
that allowed us to walk, as we did on a Star 
Trek set, from one lighted environment to 
another. We were always re-lighting and find- 
ing new and efficient ways to do the same 
thing, and that became very arduous after a 
while, and some of the hours we put in were 
really quite extraordinary. Again, like the 
accent, you're talking to somebody who 
would be happy to almost always rehearse. 
There is a point where there can be too much 
rehearsal, but I don't think it was something 
we ever suffered from." 

The Hero in Twilight 

Despite Legend's somewhat lackluster 
viewing figures, de Lancie says the press was 
favorably disposed toward the series. "The 
critical response, of which I have all the 
reviews, was about 85-90% either very good 
or good. The only review I recall as less than 
one would have wanted was the Los Angeles 
Times, which has a reputation for being par- 
ticularly difficult." 

Unfortunately, UPN seemed to look solely 
at the ratings when they decided to bring an 
end to Legend. "My sense is that it had more 
to do with some internecine machinations 
than it did with the show per se. What those 
issues were, I was never privy to. In the end, 
it's only going to be gossip, and the people 




"When Legend came around, I 
immediately recognized it as something 
worth doing," de Lancie declares. 

36 STARLOG/Decemter 1995 

who you would have thought, and certainly I 
would have thought, would know, didn't. 
Even [executive producers] Michael Piller. 
Bill Dial and Rick Anderson were perplexed 
by the decision. It's done now. and somebody 
knows why, but I'm not that person." 

Looking back at Legend's short-lived 1 3- 
episode season, de Lancie reflects on some of 
the series' more memorable installments. 
"There were actually two episodes that stand 
out in my mind as high points." the actor 
affirms. "One is easy to understand, because 
it's an episode that my character was very 
prominent in ["The Gospel According to Leg- 
end," with Robert Englund as a Bible-thump- 
ing, fire-and-brimstone preacher], and I 
particularly liked it because it was about 
something. In this case, it was the idea that 
religion and the Bible can be used as a 
weapon, although the person wielding the 
weapon, interestingly enough, was not 
religious as such. The religious power 
was actually being controlled by a 
mercantile element that was using it to 
create all sorts of havoc. The idea 
was that an industrialist had gotten 
wind of the fact that my character 
was coming close to perfecting 
some sort of cloud-feeding 
device. Because they were making a 
fertilizer with a drought-resistant ele- 
ment, they were really against the inven- 
tion, so they employed a charlatan preacher to 
whip the community up against me, and 
essentially burn me out. One of the scenes in 
that episode was almost a homage to 
Frankenstein, where the mob takes over. 

"That was the first episode that I thought 
was very good, and it was actually the one 
broadcast in a different time slot. After they 
cancelled Legend. Michael Piller was able to 
convince UPN to have the show aired right 
after Voyager, which had always been his 
original intent. It was a bit disingenuous, 
throwing a bone to him. because they said, 
'Sure, we'll do that.' but they were only going 

to do it for one night. UPN did, in fact, get 
good numbers on that episode, but they still 
cancelled the show. 

"The other episode I thought was even 
more to the point," de Lancie continues, "was 
the show about a dinosaur hunt ["Bone of 
Contention"] . That one was particularly good, 
although it was a bit difficult to follow, and if 
there were any critics of the story, I would say 
they were accurate about that. 

"What I remember most about it is that 
was the episode we were shooting on the day 
we were cancelled. In fact, we were actually 
in the middle of the dinosaur scenes at the 
time, and I just thought to myself, 'Here I am, 
looking at this incredible set!' That dinosaur 
was a real one brought in from the Natural 
History Museum in Los Angeles. I felt this 

"l don't think Legend 

was a show that 

should have been 


was the type of show that exemplified why, as 
a kid, I got involved in all of this: my enjoy- 
ment of the movies, and so on. 

"I was really sad that we were working on 
something like this, and literally nobody 
knew we were shooting this episode; it was 
almost a secret. The publicity people hadn't 
done anything with it, and as I was looking at 
that dinosaur and the wonderful lighting, the 
cave and the chamber, I thought this was real- 
ly a shame, because nobody else was doing 
this stuff, and where are our kids going to be 
able to get it from? Yes, every once in a while 
you get Raiders of the Lost Ark. but for the 
most part, you get Judge Dredd. and certainly 
television isn't doing anything at that level, a 
S2-million show, with that type of fantasy ele- 

It's always possible that Q will return to 
the Star Trek Universe. 

ment. Those were two episodes that made the 
biggest impression on me." 

Since the show's cancellation, de Lancie 
has kept busy with a number of diverse pro- 
jects. After finishing Legend, he flew to 
Aspen to narrate a concert version of Ludwig 
von Beethoven's Fidelio. and is now back in 
LA developing a new SF project with 
Leonard Nimoy. "It was my idea, and I had it 
last October when he and I did War of the 
Worlds [for NPR] . but I had to step away from 
it for six or seven months while I did Legend. 
Rene Auberjonois is going to be involved: 
there's going to be quite a number of us 
involved. I'm obviously being obtuse right 
now, but I'll be able to talk about it once we 
start production." 

Currently, he's filming a supporting role 
in the Michael Keaton cloning comedy 
Multiplicity, directed by Harold Ramis. 
Of course, there's also Q, the 
omnipotent entity that de Lancie creat- 
ed on Star Trek: The Next Generation, 
who's still floating around the Star 
Trek Universe. Q could appear on 
Voyager (which stars the actor's 
old friend, Kate Mulgrew), anoth- 
er episode of Deep Space Nine, or 
even the latest Trek feature; one never 
knows where and when the macrocosmic 
meddler will pop up. 

As for the possibility that Janos Bartok 
may return to his laboratory in the future. 
John de Lancie says— albeit regretfully— that 
the chances of a Legend revival are fairly 
remote. "Oh, sure, there's talk about resur- 
recting any show that gets cancelled; I've 
been through it on a number of occasions, but 
the chances of it happening are very slim. 

"In this case, I would say they're non- 
existent, and that's too bad. You can't con- 
vince people to buy something they don't 
want to buy. Even if you tell them it's good 
for them, that's still not soina to do it." -&■ 

STARLOG/December 1995 37 

Sheriff woody & 
Buzz Lightyear 
come to life in 
history's first fully 


ou're going to hear and read a lot 
about Toy Story this month. You'll 
i hear that every one of the movie's 
J 1 ,500-plus shots is completely 
computer-animated, making this the first full 
CGA (computer-generated animation) fea- 
ture film in history. You'll hear about the 
landmark alliance between Disney, the doyen 
of animated features, and Pixar, a Northern 
California house owned by Apple cofounder 
Steve Jobs that, for CGA, is the pixel of the 
litter. You'll hear a great deal about the tech- 
nology that puts Sheriff Woody, a pull-string 
cowboy voiced by Tom Hanks, and Buzz 
Lightyear, a spaceman action figure with Tim 
Allen's tonsils, through their digitized paces. 
These are all part of the Toy Story story, 
but there's another element that goes well 
beyond high-res gee-wizardry and corporate 
synergies. Simply put. Toy Story is an ode to 
toys. As such, it's designed to appeal not only 
to animation buffs and Disney stockholders 
but to anyone who ever straightened out a 
Slinky or overcooked a Creepy Crawler. 

"A spaceman and a cowboy — what 
opposites!" exclaims director John 
Lasseter, who sought to make Toy Story 
a mismatched buddy film in the classic 

Just ask director John Lasseter about his 
favorite toys and watch his eyes mist over. "I 
was really into G.I. Joe and Hot Wheels." rhap- 
sodizes Pixar "s VP of creative development. "I 
had a pull-string Casper when I was a little kid. 
I still have it, but it's a bit brown now. 

"Andrew Stanton [a character designer 
and one of Toy Story's co-writers, who also 
include Joss Whedon of Speed and Buffy the 
Vampire Slayer] would tie a G.I. Joe to a rock 
on the beach as the tide was coming in and 
shout. 'Tell us where the treasure is!' One 
time he gave a G.I. Joe an M80 as a backpack 
and yelled, "Run. Joe. run!' He blew Joe up." 

Remember that M80 — it'll come up later. 
And bear in mind that, however gobbledy the 
gook gets about shaders, digitizers and ren- 
dering, the people who made Toy Story are 
basically folks whose love for Gumby and 
Lincoln Logs runs deep. Their job with this 
film is to marry that warmth and affection to 
CGA technology, as surely as old-fashioned 
Woody and space-age Buzz come to bond. 

Toy's Story 

Toy Story isn't Pixar and Disney's first 
dance— they shared a special technical Acad- 
emy Award in 1992 for their joint invention 
of CAPS, a computer animation post-produc- 

38 STARLOG/December 1995 

tion process. There are other crossovers too: 
Lasseter worked at Disney a dozen years ago. 
and other Pixar staff also switched from 
Mickey to the mouse. Though Disney 
approached Pixar for the current collabora- 

tion, both companies had something big to 
gain. Disney got a toehold on 
animation's next stage, 
Pixar got a coach as it 
moved from the novel- 

In the world of this film, "toys are like adults whose job is being a toy," explains 
producer Bonnie Arnold, here with fellow producer Ralph Guggenheim. 

ty of CGA commercials and award-winning 
shorts (including "Luxo Jr.," "Knickknack" 
and the Oscar-garnished "Tin Toy") to its 
first full-length film. 

"The mindset of feature films is very dif- 
ferent from that of shorts." says Bonnie 
Arnold, who co-produced Toy Story with 
Pixar's Ralph Guggenheim and was associ- 
ate producer on Dances With Wolves and The 
Addams Family. "It's like running a 
marathon and a sprint — you wear the same 
clothes and shoes, but you pace yourself 
totally differently." 

Toy Story got started around 1991, when 
Disney and Pixar inked a three-picture deal, 
and was greenlighted in 1993. Disney origi- 
nally suggested it be a musical, an idea Las- 
seter nixed. Instead, he got composer/ 
songwriter Randy Newman to score the film 
and compose three songs, which play over 
key sequences. 

In the story, Woody and Buzz are at the 
center of a world "where toys are like adults 
whose job is being a toy," says Arnold. "They 
come to life when people aren't around. 

DARCY SULLIVAN, California-based free- 
lancer, profiled Dan Brereton in COMICS 

SCENE #48. 

STARLOGIDecember 1995 39 

Can an old sheriff learn new tricks? He'l 
have to when Woody and Buzz fall into 
the clutches of Sid, a violent neighbor 
kid, and must work together to escape. 

"Woody belongs to a little boy named 
Andy, along with some new and traditional 
toys, including a Slinky dog. Mr. Potato 
Head, a Tyrannosaurus rex and a piggy bank 
named Hamm. In this world, the worst time 
for toys is Christmas or a birthday— that's 
when toys can get replaced. 

"As the film begins. Andy's family is get- 
ting ready to move, and it's his last birthday 
in the current house. Woody, the top toy, is 
trying to calm the other toys, telling them 
nothing's going to happen. Then. Buzz 
Lightyear happens, causing all kinds of pan- 
demonium. Woody gets his pull-string in a 

40 STARLOG/December 1995 

Who would you expect to voice a huge 
Tyrannosarus but. . .Wallace Shawn? Jim 
Varney is Slinkey, his appropriately- 
named pal. 

knot, because Andy might like Buzz better 
than him." 

Arnold prefers to end her summary there, 
adding just, "It's a Disney movie, so of 
course it has a happy ending." But before 
Woody and Buzz become buddies, a few 
shocks lie in store. A jealous Woody pushes 
Buzz out a window, starting their perilous 
adventure outside Andy's house. Buzz — who 
believes he's an authentic space ranger, not a 
toy— learns the truth in a painfully funny 
way. Both characters figure in a show-stop- 
ping chase meant to one-up the climax of 
Nick Park's claymation classic The Wrong 
Trousers (a big fave at Pixar). 

"The film's story came in a roundabout 
way from 'Tin Toy,'" says Lasseter. '"where 
we had created a world where toys are alive. 
We wanted it to be a strong character film, 
but we were looking for something different 
than what Disney usually does. We hit on the 
buddy picture, and watched a lot of classic 
examples: The Defiant Ones, The Odd Cou- 
ple, Midnight Run, 48 HRS., Lethal 

The buddies were to be an old toy and a 
new toy, but not quite the Woody and Buzz 
who cavort across the screen. "Originally. 
Woody was a Charlie McCarthy-style ven- 
triloquist's dummy, and Buzz was a wind-up 
toy," Lasseter explains. "But then I started 
thinking: If one of my boys had an absolute- 
ly favorite toy like Woody, what toy would 
make him forget about that toy? A tin toy 

wasn't really it — naturally, it would be an 
action figure." 

Buzz's rebirth begat Woody 's reconceptu- 
alization as a cowboy doll: "One aspect of 
buddy pictures is that you need to establish 
that the characters are as opposite as possi- 
ble," says Lasseter. "A cowboy and a space- 
man—what opposites!" 

And then there's Sid. the toy-brutalizing 
bully from whose clutches — and dog, 
Scud— Woody and Buzz must escape. Sid 
has plans for Woody. Remember that M80? 

"Everybody knew a kid who loved play- 
ing with toys in a destructive way." says Las- 
seter. "Sid's that kind of kid. He's only evil 
from the point-of-view of the toys. He's kind 

of mean to his sister, but he's not out to take 
over the world or anything. But to a toy !? As 
one of the characters says, 'He tortures toys 
just for fun!' " 

This toy's-eye view reflects the film's 
M.O., says Lasseter: "We're trying to show 
things people can relate to, but in a way 
they've never seen before. For example, we 
all had little green army men. because they 
were so cheap, but in this film we portray 
them the way we all wished they really 
were — like special forces Green Berets." 

Since the story involved classic toys as 
well as fabrications, Pixar sought permission 
from toy companies. Most said yes, a couple 
said no. "Mattel turned us down for the use 

STAKLOG/Decewber 1995 41 

"To be a computer animator, you have to be half artist, half scientist," observes 
supervising animator and story man Pete Docter. 

of Barbie." Lasseter says. "They weren't 
interested in us giving Barbie a personality, 
since they feel every girl puts her own per- 
sonality into the toy. 

"Hasbro turned down our use of G.I. Joe, 
because we were planning to blow him up 
with an M80. We didn't think we had much 
chance with that one. So we came up with 
our own: Combat Carl." 

CCA Story 

Once the story was settled upon, charac- 
ter sketches and storyboards began to take 
shape while voice actors were cast and 
recorded. Disney's clout pulled an A-list 
ensemble led by Hanks, Allen, Jim "Ernest" 
Varney (Slinky), Don Rickles (Mr. Potato 
Head). Wallace Shawn (Rex). Annie Potts 
(Bo-Peep) and John Ratzenberger (Hamm). 
The actors recorded their parts separately in 
Los Angeles, save for a couple of joint ses- 
sions with Hanks and Allen. 

"They all improvised a bit," says Arnold. 
"Tom did a lot. And John Ratzenberger came 
up with a lot of great lines for Hamm." The 

actors were also videotaped, so that the ani- 
mators could later play off their motions. 

In all, the recording sessions stretched 
over a period of two years, as scenes were 
refined and retakes required. This added to 

'We were looking 

for something 

different than 

Disney usually 

does." , 


the difficulty for the actors. "Tom Hanks 
pulls so much from the costume, the sets, and 
his interaction with other actors." says Las- 
seter. "In this case— his first voice work— it 
was just him in a recording studio, with the 
script pages stapled to cardboard so they 
wouldn't rustle, and a big old microphone 
hanaina there. 

"The best direction I could give him was 
to paint a picture in his mind. I would say. 
'You are in Sid's room, the mean kid who has 
been torturing you the last couple days is 
asleep on the other side of the room. You are 
trapped in this milk crate and you're trying to 
convince Buzz to come over and get you out. 
but he's just found out he's a toy and he has 
completely given up on life. It's dark, outside 
light is coming through the window, and it's 
raining— everything's very blue.' Then, he 
would start working with the scene, like a 
sculptor working with a block of marble, 
chiseling away." 

Meanwhile, back in Northern California, 
the film's art director was fleshing out Las- 
seter's ideas for the film's look. Ralph Eggle- 
ston seems a bit of an odd choice for the job. 
given that he describes himself as a "comput- 
er retard. I had no computer experience what- 
soever," he admits, "which I think is part of 
the reason I was hired. If you have any pre- 
conceived ideas about what a computer could 
do. that could be limiting." 

Like most of the film's participants, 
Eggleston's work ranged from the big-pic- 
ture to the nitty-gritty. In the former camp 
was figuring out how to pitch each scene's 
emotional level— "I like to work from the 
emotion," he says. The detail stuff ranged 
from "texture maps" showing where the 
walls should be scuffed in Andy's house to 
Eggleston's thorniest dilemma: "Weeds! I 
had an idea about how to do the weeds in 

42 STARLOG/December 1995 

With over ten times more computer 
images than Jurassic Park, Toy Story is 
another giant leap forward for computer 
graphics in the entertainment industry. 


Sid's backyard, and it became a manpower 
issue. A set dresser spent three days planting 
5.000 weeds by hand, and it didn't come out 
right. We ended up designing [with technical 
artists Loren Carpenter and Mitch Prater, and 
technical painter Tia Kratter] a map showing 
where the weeds should be highest and low- 
est. We spent a week figuring it out." 

Weeds you may not notice, but Eggleston 
is candid in addressing what could be the 
film's weakest visual link: the stylized look 
of the human characters. "That was a prob- 
lem from the beginning." Eggleston con- 
firms. "We thought we could stage around 
the humans initially, but unfortunately we 
couldn't. I say unfortunately because, for all 
the work we put into them, the humans fall 
flat. Everything else is so believable, and 
when you see the people, it's jarring. In 75 
percent of the cases, the people look really 
great, and the other 25 percent I'm not that 
comfortable with." Eggleston shrugs. "Next 
time we'll do better." 

Representing the next stage in the realiza- 
tion of Toy Story, modeler and associate tech- 
nical director Eben Ostby is more sanguine. 
Maybe it's because his own familiarity with 
computers — his office hosts one of Pixar's 
large SGI workstations, its widescreen moni- 
tor layered with overlapping application win- 
dows—tells him just how advanced Toy 
Story is compared with standard CGA fare. 

"Warmth is very important in a feature 
film." he contends. "If it all looks like 

Reboot, people won't be interested very long. 
To keep things rich and warm, there are sev- 
eral ways to attack it. On this film, the main 
thing is the visual complexity of the image. 
You make sure there's enough going on that 
when your eye strays across the image, it's 
not just flat. 

"We made two rules for this project: 
Nothing should ever stop moving and noth- 

ing should ever go completely black. You 
never go all the way to the limits of dull- 
ness — even if there's a minor character in the 
background, it should be moving, just like in 
a live-action film." 

Ostby demonstrates the visual-richness 
point by indicating how he digitized sculptor 
Shelly Daniels Lekven' model of Scud, Sid's 
malicious mutt (picture a deformed Spuds 

"John Ratzenberger came up with a lot of great lines for Hamm," reveals Arnold. 

STARLOG/December 1995 43 

Who's the last actor you'd think of as personifying a child's plaything? Why, Don Rickles, of course. He's on hand as Mr. Potato Head. 

you write the way it will react to different 
kinds of light. For example, under the black 
light in Sid's bedroom, Woody's eyes, teeth 
and vest all glow purplish." 

Sometimes this detail thing got a little 
hairy. As the film's technical director. Reeves 
had to figure out how to realize FX like the 
reflection on Buzz's helmet: not just a glint, 
but an actual reflection of his environment. "I 
told John, 'This is going to be nasty— it's in 
every shot!'" recalls Reeves. 

Lasseter has his own favorite design 
detail concerning Buzz Lightyear. "If you 
look closely." he confides. "Buzz has '© Dis- 
ney' embossed on his butt." 

End of Story 

Turning these complex bundles of digital 
shapes, shaders and movement controls into 
lifelike characters required more people than 
Pixar originally thought. The animation staff 
bloomed from 12 to 27 in number, super- 
vised by Pete Docter, whose office is a 
playpen of rubber monster toys, cartoon art 
and exotic albums. His soul may be that of a 
hipster, but Docter admits that "to be a com- 
puter animator, you have to be half artist, half 
scientist. In traditional animation, you can 
get a lot of 'feel' in the drawing— here you 
have to analyze that feel and put it in the 

This is Pixar's first film with dialogue, 
which makes things a tad different. "When 
you're given the dialogue, your timing is 
done for you," Docter says, and then demon- 
strates how. The software on his system has 
represented a line of Tom Hanks' dialogue — 
"Buzz, look out!"— as an oscillogram, a 

Rounding out the cast of supporting toys is Annie Potts as Bo-Peep. 

McKenzie). "First, I gridded him," says 
Ostby, indicating the interlacing lines drawn 
all over the model. "Then, I sampled each 
grid point." He touches a pen-like wand to 
the model, transferring the information to his 
computer's TET software, a Pixar digitizing 
program. "Then. I stitched all these grid 
points together into a hopelessly seamless 
mesh of data." 

On Ostby's screen, this mesh replicates 
the grid he has drawn over the model. It 
looks complicated— indeed, there are 4,498 
grid points defining Scud— but Ostby says 
that figure is "reasonably economical. 

"The humans and the toy faces were all 
done this way," Ostby explains. "The rest of 
the characters and the props were done other 

ways, including using a computer-aided 
design package called Alias." 

The next step is adding controls that 
define how Scud can move. "In some sys- 
tems, any model can do anything," Ostby 
says. "We try to simplify the animator's job, 
to give them the necessary motions and no 

Even those "necessary motions" can add 
up: Pixar's Bill Reeves says it took him four- 
to-six months to build the digital model of 
Woody and add 432 animation controls, as 
well as Woody's "shaders." Each shader 
determines the texture and color of a given 
surface— say, the weave pattern on Woody's 
plaid shirt. "You write the shaders indepen- 
dent of the lighting," Reeves explains, "and 

44 STARLOG/December 1995 

Art director Ralph Eggleston was 
responsible for the look of the film, right 
down to the placement of computer- 
generated weeds. 

wavy line on chart paper like the recording of 
a lie detector. "It shows me that the 'B' of 
'Buzz' occurs on frames 40-41 of the scene." 
says Docter. From this detailed tracking of the 
dialogue, Docter prepares a thumbnail sketch- 
es of the action, and then begins animating 
using "polys" — incomplete versions of the 
digital models, made up of geometric 
shapes— polygons. These stand-ins let Docter 
work more quickly, since the models' memo- 
ry-hogging complexity slows his computer 

"I animate the body motion first." he says. 
"You should be able to express the characters' 
attitude that way. before you even get to the 
face." Once in the facial region, Docter has to 
make Woody 's expressions look convincing. 
"If you just turn up the edges of the mouth for 
a smile, it looks animated." he says. "So I'll 
do things like give him a little cheek puff as 
well." In fact, Reeves says Woody was 
changed from a ventriloquist's dummy to a 
pull-string doll in part because the up-and- 
down dummy mouth wasn't expressive 

Docter says he watched many of Hanks' 
recording sessions and films for inspiration 
when animating Woody. One Hanks manner- 
ism that makes its way into Woody's reper- 
toire is "a little head wobble Tom does— we 
used that a lot." Another motion guide, for 
Woody's floppier scenes, was a Raggedy 
Andy-style doll Docter constructed: a bizarre 
homunculus with long denim limbs, a plastic 
Fred Flintstone doll head and tiny Gerber 
baby shoes. "I even got Tom Hanks to sign it." 
smiles Docter. exposing the signature on the 
bottom of the doll's shoe. 

Such low-tech props were grist for an 
extremely hi-tech mill. Pixar's proprietary 
animating software MENV fills in the frames 
between the so-called "key frames." but the 
animator sets the parameters. For example. 
Docter may simulate the blurrina "streaks" 

Videotapes of the actors performing their lines aided the animators in capturing just 
the right expressions for Toy Story's computerized characters. 

that occur on film during fast live-action. He 
can also control the movement of any image 
between two points, stretching or condensing 
tangents on a mathematical matrix to define 
the speed of the motion at each point. 

This work takes time, both for the anima- 
tor and the roomful of 117 stacked Sun 
SPARCstations that have run 24 hours a day 
for months, "rendering" the art. (Rendering, 
committing computer imagery to film, is a 
Pixar specialty— they developed the Oscar- 
winning RenderMan software.) Shots vary in 
their complexity, but a relatively simple 
one— say a two-shot with Buzz and Woody— 
gets animated at a rate of about six seconds a 
week, says Docter. It then goes to the "Render 


"Hasbro turned 
own our use of 

C.I.Joe, because 
we were planning 

to blow him up 
with an M80." 



Farm," where each frame can take between 
three minutes and six hours to render. 

Technical tricks save time and make the 
process work, but Docter emphasizes that he 
and his crew are animators, not programmers. 
"We're from hand-drawn or stop-motion ani- 
mation, and we then learned to use the com- 
puters." he explains. "Our real skill is in 
acting, making something look like it's alive 
on the screen. That's harder than the comput- 
er stuff." 

Wander the halls of Pixar, stepping over 
the mounting piles of prototype Toy Story 
toys, and you'll hear this notion repeated 
almost mantra-style. Everyone is at great 

pains to explain that this film is all about story 
and character, not disc drives and technical 
hot-dogging. Pixar even passes out back- 
ground sheets boasting that the film's 1 12.000 
CGA frames took 1 .000 gigabytes of memory 
to store and 500.000 machine hours to render, 
compared to the mere 8.600 frames. 100 giga- 
bytes and 40.000 machine hours required for 
the dinosaurs in Jurassic Park. 

These numbers show Toy Story's, historical 
significance: It's the test balloon for CGA as a 
film-sustaining process, as opposed to a film- 
enhancer as in Jurassic Park. Casper, Juman- 
ji and other special-FX feasts. This is the first 
full CGA film. Lasseter says, "because five 
years ago getting the amount of computer 
power needed would have been economically 
unfeasible. We've done 1 .560 shots in 77 min- 
utes over a two-and-a-half-year period, and 
we've done it with 110 people. It's remark- 
able that we were able to do that." 

Providing that Toy Story is a Disney-sized 
success, expect the CGA floodgates to open. 
Even Reeves— who oversaw the development 
of Pixar's MENV software and says, "This 
film is much richer than I would have imag- 
ined two years ago"— laughs when asked if it 
will look primitive in 10 years. "Oh, yeah. In 
two years!" 

He should know: Insiders say that while 
Toy Story capitalizes on everything Pixar 
learned from its shorts and commercials, the 
next film will take a big leap forward. That 
project, they imply, will make Toy Story's 
toughest challenges— like the black-light 
effect and the digital maneuvering required to 
make smoke and haze look real— seem like 
kids' stuff. 

In the meantime, John Lasseter is taking a 
boyish delight in resolving Toy Story's final, 
non-technical details. So long a toy fancier, 
he's micro-managing Disney's conversion of 
Woody and company into real toys. "They 
keep putting the '©' on the bottom of Buzz's 
foot." he says. "And I keep saying. "No, put it 
on his butt. That's where it belongs.' " ,**■ 

STARLOG/December 1995 45 


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Pondering the scripts' quality, 
Barry Morse was happy to flee 
Moonbase Alpha. 


It was Lord Lew Grade, chairman of LTC 
(Independent Television Corporation) and 
Britain's foremost television mogul, who 
first approached actor Barry Morse when 
casting Professor Victor Bergman in Space: 
1999. Morse found the offer tempting, but 
ultimately, his ride through the cosmos was a 
bit bumpy. 

"I remember thinking, "Well, I don't 
know very much about science fiction, and 
truthfully, I'm not all that interested in it." " 
says Morse. "I met with the people involved, 
producers Gerry and Sylvia Anderson, and 
my colleagues. Barbara Bain and Martin 
Landau. We had meetings about the series 
and I very quickly realized that there really 
wasn't much in the scripts that gave any 
clear indication as to what the characters 
were about. 

"The script for the first episode, 'Break- 
away,' had almost no explanation about the 
background of these people. At one of the 
earliest meetings, I said, 'Look, could we 
spend a little time talking about who these 
people are? What their general characters 
and personalities are? Perhaps a little about 
their background: what their parentage was, 
where they went to school, what tastes they 
have,' and so on. 

"Well, they seemed not to be really inter- 
ested in that very much. They wanted to talk 
about the clothes we were going to wear, 
because they were all going to be designed 
by some fashionable ladies' designer. It was 

"My favorite role is always the next one," 
notes Morse, who has played more than 
2,000 parts on stage, film, television and 

STARLOG/December 1995 47 

"Scarcely any attention was paid in the scripts to the real character of those people in 
Space: 1999," says Morse. 

none of my business, of course, but 
privately I thought this was very silly. 
As you saw, what we wore in Space: 
1999 were simply carbon copies of 
what had been worn in umpteen other 
science fiction shows and did not show 
any vestige of originality." 

It was Morse himself who gradual- 
ly built up a background for his charac- 
ter. While this information was never 
incorporated into any of the scripts, it 
did give the actor something upon 
which to base his performance. "I 
came up with the idea that Victor 
Bergman had come to England as a 
refugee child during the reign of the 
Nazis, and that he might have original- 
ly been Austrian or Czechoslovakian." 
the actor recalls. "I built up a whole 
character based on that and the idea m 
that, being somewhat older than almost 6 
all the other people on the space sta- 1 
tion, Professor Bergman could also be s 
described as a kind of space uncle. 

"Scarcely any attention was paid in 
the scripts to the real character of those 
people in Space: 1999. Unfortunately, in my 
opinion, although immense attention was 
paid to the special FX— the models, explo- 
sions, all that— hardly any attention was paid 
to the actual human characters. Good dra- 
matic material is made up out of the perplex- 
ities, conflicts, hopes and aspirations of 
human beings. Good dramatic series and pre- 
sentations are not made up out of collisions 
and explosions; that's just child's play." 

Young Actor 

Traveling through space on a runaway 
moon wasn't even a glimmer in the actor's 
eye when he was born in London's East End 
on June 10, 1918. He began his education at 
a London Council elementary school, but 
soon opted for the unconventional and 
rougher classroom of the city streets. "The 
school I had to go to was run in rather primi- 
tive wavs. When the teachers discovered that 

I was left-handed, instinctively and naturally, 
they would beat me to try to force me to write 
and work with my right hand. When I asked 
why, they beat me even harder. They were 
very ignorant and barbaric people, but one 
mustn't blame them." 

When he was 14, Morse secured a job as 
an errand boy, delivering samples to poten- 
tial customers of a glass manufacturing com- 
pany. One day, while making a delivery, he 
saw a poster announcing a free public perfor- 
mance by the graduating students of the 
Royal Academy of Dramatic Art (RAD A). 

"I knew nothing about acting or the the- 
ater," confesses Morse, "having never seen 
or read a play. I had occasionally been to the 
movies and a great actor of that time, of 
course, was the Englishman Charles Laugh- 
ton, whom I had seen playing all sorts of 
marvelous parts. I knew he had been trained 

"l really don't have a 

very high opinion in 

regards to the quality 

of Space: 1999." 

at the Royal Academy of Dramatic Art, and I 
thought that if I went along to watch these 
performances by graduating students, I 
would be seeing embryonic Charles Laugh- 
tons. Along I went on the appointed day and. 
to my great astonishment, discovered that 
most of them were quite terrible. I didn't 
think they were any good at all. How 
arrogant of me as a youngster of 15!" 
This performance prompted the 
young Morse to apply to RADA for an 
audition. Much to his surprise, he won 
the principal scholarship and became 
the youngest student ever admitted to 
the school. During his final term, he 
won the BBC Award and played the 
title role in a production of Shake- 
speare's Henry V staged in honor of 
the Royal Academy's then-patron 
King George VI. In 1936, Morse 
secured his first professional job as 
the understudy to the lead in If I Were 
King at the People's Theatre. One 
night, when the star fell ill, Morse 
went on. "I had to make my first 
entrance on the stage riding a pure, 
milk-white horse— very impressive." 
Over the next four years, Morse 
worked with several repertory compa- 
nies throughout England and made his 
first appearance in a London West End 
production of School for Slavery. 
Early television work for the BBC 
began in 1937 and three years later, he began 
making a name for himself as a character 
actor in such films as When We Are Married. 
Daughter of Darkness, Thunder Rock and the 
Will Hay comedy The Goose Steps Out. 
alongside fellow newcomer Peter Ustinov. 
During this time, on March 26, 1939. the 
actor married Sydney Sturgess, an actress 
whom he had met during his stint in reperto- 
ry theater. 

48 SIARLOG/December 1995 

"We're now approaching our 57th wed- 
ding anniversary, something of a record, I 
think, for our trade." says the actor proudly. 
"We had our first baby in 1943, a boy who, 
unfortunately, died in infancy. Our second 
child, Melanie, was born in 1945 and our 
third. Hayward, was bom in 1947." 

Morse traveled to Canada in 1951 and 
there continued honing his skills as an actor, 
director and occasionally writer. He also 
journeyed to Mexico. Australia and the United 
States. By the early '60s. he appeared steadily 
in American productions, guest-starring in such 
TV series as Dr. Kildare (as a Romanian drug 
smuggler) and Wagon Train (as a drunken Irish 

He also made an early visit to The Outer 
Limits. "Controlled Experiment" cast Morse 
and Carroll O'Connor as friendly and decid- 
edly ungreen Martians who land on Earth to 
make a thorough scientific investigation of a 
murder. "This episode was designed as a 
pilot for a proposed series." Morse reveals. 
"Carroll and I. along with the young man 
who wrote and directed it [Outer Limits cre- 
ator/executive producer Leslie Stevens], 
thought it was a marvelously prosperous and 
inspired idea for a series. Unfortunately for 
us, there was another series about to go on 
the air called My Favorite Martian. Because 
of that, our pilot was never picked up. It 
would be interesting to reflect, wouldn't it, 
on what would have happened to Carroll 
O'Connor on the one hand and to me on the 
other if it had been made into a series." 

Relentless Nemesis 

Morse found his next long-term acting 
assignment much more terrestrial 
in nature. Throughout his time in 
the United States, he had often 
worked for producer Quinn Mar- 
tin. In 1963, Martin began consid- 
ering possible leads for a project 
he was producing called The 
Fugitive. His search ultimately led 
to Morse. 

"One day Martin asked me if I 
would be interested in playing a 
recurring role in a new series for 
which he was about to make a 
pilot. I asked, 'What sort of thing 
is it?' and he said, 'Well, I'll get 
them to send you a script and then 
let's have lunch tomorrow and 
discuss it.' They sent me this 
script about this heroic doctor 
who's falsely accused of his 
wife's murder and the rather 
enthusiastic police lieutenant 
named Gerard who chases after 
him," he says, smiling. 

"Well, I thought, 'They can't 
mean for me to play a character 
like this, so totally and typically United 
States.' You notice I don't say American— to 
me there is no such country as America: it's a 
continent which comprises a number of 
countries. It seemed to me that these charac- 
ters were both essentially products of the 
United States, and I didn't think he had 
meant that. It turned out when we had lunch 

Years before venturing out into Space, Morse was the youngest student ever admitted 
to the Royal Academy of Dramatic Arts. 

the next day that he did, and I undertook the 
task of playing this character of Lieutenant 

For the next four years, viewers eagerly 
tuned in to watch as Gerard doggedly chased 
his fugitive from justice, Dr. Richard Kimble 
(the late David Janssen). While the series 
was new to television viewers, it was actual- 
ly an old story with a new twist. 

"Here's a little inside information about 
The Fugitive and its structure," reveals 

When approached to join the Space: 1999 
cast, Morse was reluctant, "I don't know 
very much about science fiction, and 
truthfully, I'm not interested in it," he said. 

Morse with a twinkle in his eye. "Nowadays, 
everybody knows about the wonderful musi- 
cal based on the 19th-century novel by Victor 
Huso called Les Miserables. In this story, the 

two principal characters are similar to those 
in The Fugitive, the policeman being Javert, 
played in the original movie by the great 
Charles Laughton. The name Gerard is not 
unlike the French name Javert. Not many 
people used to know, but a good many more 
now know, that The Fugitive was based on 
Les Miserables." 

Although it took nearly four years for 
Kimble and Gerard to see eye-to-eye regard- 
ing the murder of the doctor's wife, Morse 
instantly got along with Janssen and 
remembers the actor with great affec- 
tion. "I came to know and become 
very fond of David. I think he regard- 
ed me as a kind of proxy uncle, or, 
perhaps, parent because I was a good 
deal older than he. The interesting 
thing was, of course, that we didn't 
actually meet in the working sense all 
that often. Whenever Gerard turned 
up in a script, David would be off and 
running somewhere else. The num- 
ber of scenes in the whole series in 
which we actually played together 
were relatively few. In fact, David 
was always rather relieved to see me 
show up, because it would usually 
mean he would have a day or two off. 
"David was a delightful fellow 
and a very skilled actor. He had much 
greater skills as an actor than people 
gave him credit for. My personal 
feelings were that his true range of 
gifts was never sufficiently used. He 
had a wonderfully ironic and wry 
sense of humor about the world in 
general and about himself in particular, and I 
always thought that he really ought to have 
been playing parts that were played by actors 
such as Cary Grant. Unfortunately, no one 
ever used his skills, or at least they didn't use 
them sufficiently." 

In 1973, while visiting his children back 
in England where they were following in 

STARLOG/December 1995 49 

Morse admired his cast mates, including Bain, Landau and guest stars Christopher Lee 
(left) and Roy Dotrice (center). "They were all very good-natured and gifted people." 

their father's footsteps at RAD A. Morse was 
asked by Roger Moore to appear in an 
episode of Moore's TV series The Saint. This 
marked the resumption of Morse's English 

"We only had this one script to work on 
and nobody had a very clear idea as to what 
their characters were meant to be. I thought 
that the quality of the writing and overall 

The second year of Space: 1999 found Professor Bergman gone. "We more or less 
mutually agreed that I wasn't going to go any further with it," Morse reveals. 

career and resulted in his being cast as a reg- 
ular in two other crime drama series from 
Lew Grade's ITC, The Adventurer with Gene 
Barry and, later, The Zoo Gang with John 
Mills, Lilli Palmer and Brian Keith. After his 
work in the latter series. Morse found himself 
at Pinewood Studios outside London filming 
the first episode of Space: 1999. 

production in general really left a lot to be 
desired on Space: 1999." 

Morse and the rest of the cast spent over a 
year floating through the cosmos while film- 
ing the series' first season. Although Morse 
feels the scripts were generally inadequate, 
he does recall one adventure on which he 
particularly enjoyed working. "An episode I 

thought was unusually effective was 'The 
Black Sun,' in which it seemed likely that 
Moonbase Alpha was going to be swallowed 
up entirely and we were all destined for 

"We pretty much improvised a good deal 
of that episode." says Morse. "I recall one 
particular scene where Martin Landau and I 
were sitting on the steps in the main control 
room, drinking brandy and thinking about 
what it was going to feel like to be carried out 
into oblivion in the next minute. That scene 
had a certain amount of human value— no 
explosions," he laughs, "just two human 

"Professor Bergman 
could be described as 
a kind of space uncle." 

"There was another episode ["Space Brain"] 
which involved soap suds. There was supposed 
to be something encroaching on the Moonbase 
which took the form of a kind of overloaded 
washing machine, more or less," he chuckles. 
"It had to be shot with all these bubbles and 
foam, which had to pumped into the set. 

"We did the first take and this foam grad- 
ually spread onto the set and filled the whole 
of the Moonbase. The director cut and said. 
•All right, now, take two,' and everybody all 
looked very blank because no one had 
thought how we were going to get all these 
soap suds out of the set. It took hours and 
hours, the result being that by the time we 
came to take two, we realized that we could 
not stop for anything. Whatever happened, 
we had to keep going. 

"Take two began and they started pump- 
ing in all the soap suds. Unfortunately, when 
the young clapper/loader— that's the boy 
who does the clapper board— came in front 
of the camera and said, 'Three-eighty-nine. 
Take two,' and did his clapper, he slipped on 
this foam and fell to the floor. Well, being the 
good technician that he was. he stayed put 
because he knew that if he got up, he would 
spoil the take. So, we went on playing this 
wretched scene whilst he was being smoth- 
ered by the soap suds and foam, scarcely able 
to breathe. Thank God, he did survive and we 
all had a good laugh about it afterwards." 

Space Character 

Due to Space: 1999's setting, the majori- 
ty of filming was usually confined to a 
soundstage. A normal day began very early, 
at 6:30 or 7 a.m., and lasted until late at night. 
"We hardly ever saw the light of day," says 
Morse. "At one point, we asked if we could 
just have one episode where we went outside. 
They came up with a script. 'Full Circle,' 
which was shot just at the back of Pinewood 
Studios in Black Park. We all looked forward 
to this but, you guessed it, when the time 
came to shoot it, we had a period of almost 
incessant rain in England. We were out in the 
teeming rain all day, every day, as long as we 
shot that episode. After that, we were glad to 
set back in the studio again." 

STARLOG/December 1995 

The actor has nothing but praise for his 
fellow Space: 1999 actors. "They were all 
very good-natured, well-meaning and gifted 
people. Martin and Barbara, my two co-agi- 
tators, whom I mostly worked with, had 
never shot a series in the United Kingdom 
before and realized that things were consid- 
erably different than they were in Holly- 
wood. Because I had worked in the UK a 
great deal, I felt sort of like a host while we 
were filming. 

"All the other young people who worked 
on it with us were very gifted and keen, but I 
only wish their efforts had been used on 
material that was a bit more worthwhile. 

"We had some wonderful guest stars who 
appeared with us as well. Joan Collins [Kara 
in "Mission of the Darians"] was a guest one 
time, a very pleasant and pretty young 
woman. My old. old friend Peter Cushing 
[Raan in "Missing Link"]— no longer with 
us, alas— also worked on the series. It was a 
joy to see Peter again, as my wife and I had 
worked with him in the theater back in 1938. 
Christopher Lee [Captain Zantor in "Earth- 
bound"] is a chum of ours and I enjoyed 
working with him as well. All sorts of good 
actors came and went." 

Despite its shortcomings, Space: 1999's, 
first season was a success, particularly in the 
United States. When a second season was 
greenlighted, the show's production team 
decided to gear the program more towards 
American tastes, which, at the time, seemed 
to make sense given its U.S. success. The 
alterations included eliminating most of the 
regular cast, among them Morse. 

"As you can gather from what I've 
already said, I really didn't have a very high 
opinion in regards to the quality of Space: 
1999" he explains. "I think they thought that 
they could do better than continue the char- 
acter of Professor Bergman, and we more or 

One of Morse's current projects is the 
establishment of a series of Performing 
Arts Lodges across Canada. 

less mutually agreed that I wasn't going to go 
any further with it." 

Has Morse seen any of the second series? 
"No. I don't watch television that much," he 
answers. "Aficionados of the series have told 
me that they liked or didn't like the second 
season, or they thought that the changes did 
not benefit the show or they did. You know 

how people's opinions vary. Much more 
attention could have been paid to the quality 
of the scripts and the characters, which 
would have made Space: 1999 much more 
interesting and a little less like a sort of 
humanized puppet show, which is what I 
used to unfairly compare it to. That's what it 
came out looking like to me, at least the bits 
I was involved with." 

Veteran Performer 

Morse's recent acting credits include such 
Canadian-shot series as The Great Defender, 
Rung Fu: The Legend Continues (as a sort of 
Chicago gangster) and Sirens, a show he jok- 
ingly refers to as "Daughters of Cagney and 

Another ongoing project which involves 
not only Morse but his entire family is the 
development of Canada's first Performing 
Arts Lodge, subsidized community housing 
for retired actors, many of whom have no 
pensions or a little savings. While such hous- 
ing has been in existence for some time in 
countries such as England, France, Italy, 
Spain, Germany and the United States, only 
in 1 993 was the first PAL complex opened in 

"We hear a lot in the media, don't we, 
when Miss Dradle Drawers gets paid $70 
million a minute for her latest rock record or 
when Mister Charlie Staircase has been 
offered a contract of $87 million for his next 
movie. What we don't hear about is the huge 
majority, that 99 1/2 percent of people in our 
profession who don 't get those large sums of 
money. (continued on page 64) 

STAKLOG/December 1995 51 


Cynthia Cibb reveals 

how she deals with 

ex-husbands, famous 

divas & Deadly Games. 


There's always a real risk — a risk of 
being dead wrong — of confusing an 
actor with the role they're playing, but 
all of us, including actors themselves, some- 
times do this. Although her Deadly Games 
character, Lauren Ashborne, is more cutting, 
Cynthia Gibb and Lauren seem remarkably 
similar in some important ways. 

Gibb herself describes the character: 
"Lauren is a sharp-witted, strong-willed jour- 
nalist who's a bit cynical and sarcastic, very 
independent. She's bright, concise and 
witty." And apart from the sharp tongue, that 
could describe Gibb herself. This talented 
actress is very centered in her life; she's calm 
where Lauren might be excitable, but even a 
casual interview reveals a strong will and a 
quick mind. 

You might have noticed Gibb in one of 
her movies, like Jack's Back, Youngblood, 
Malone or Oliver Stone's Salvador. Or 
maybe in the title role of the TV movie The 
Karen Carpenter Story, or other TV movies 
like Fatal Vows, Graceland and Twist of a 
Knife. Perhaps you remember her from her 
regular roles in Fame or last year's Dabney 
Coleman comedy Madman of the People. Or 
maybe you were fortunate enough to catch 
her playing the world-famous striptease artist 
Gypsy Rose Lee opposite Bette Midler in the 
TV movie version of Gypsy. And she even 
did her own singing. 

Gibb is definitely one of the best things 
about UPN's Deadly Games. "Lauren used 
to be married to Gus Lloyd, our studly 
hero," says Gibb. "She's getting on with 
her life after her divorce from Gus, when 
suddenly he arrives in her life again and 
notifies her that he has created this ridicu- 
lous video game that has brought all of the 
people in his life that he considers to be 
bad guys to life as super-villains — peo- 
ple who have hurt him or disappointed 
him in some way. She has to join Gus 
in fighting them, or else they will 
destroy the world as we know it." 
The problem is, you see, not 
only did Gus program the peo- 
ple from his life who have 
pissed him off into the photo- 
realistic game, but also 




himself and Lauren as the game's hero and 
heroine. Lauren, just "the Girl" in the game 
itself, is often the target of the villains' nefar- 
ious activities, so when they pop out into 
reality, they're now after the real Lauren. 

"So," Gibb continues, "she's required to 
drop her own life and join Gus to fight people 
like the dentist, his old camp counselor or his 
ex-mother-in-law — my mother, the divorce 
attorney; all bad guys out of this game. We 
fight them with absurd weapons, such as 
super-soakers, dart guns, dirt-throwing guns 
— an unusual assortment of over-the-top 

While Gibb did co-star with Jean-Claude 
Van Damme in 1990's Death Warrant, that 
role kept her on the action sidelines. But, she 
says with a grin, "In Deadly Games, I'm very 
much a participant in the action and the 
stunts, and even the special FX at times. 
What I found appealing about Lauren Ash- 
borne and the character in the video game — 
'the Girl' — is that at times she is a heroine, 
and at times she's a damsel in distress. The 
Girl is a woman that Gus has programmed 
into his computer to be the babe on his arm, 
or rather the arm of the Cold Steel Kid. Gus' 
game character, while fighting these bad 

Deadly Arcs 

As everyone connected with the show has 
insisted, the series, says Gibb, is really about 
the relationship between Gus and Lauren. 
"She's terribly put out by this whole turn her 
life has taken — an indignant heroine. And 
yet — although she's clearly annoyed with the 
whole situation that her ex-husband has acci- 
dentally put her into — there is an undercur- 
rent to their relationship, a residual love that 
exists between the two of them. 

"Certainly, when it comes down to it. 
there's going to be action and adventure and 
FX and all that other stuff." Gibb explains. 
"That has to be there. But I don't think the 
people are going to care about our characters 
unless the relationship is real and interesting. 
So that foundation had to be well-laid and 
very strong. Then, we could add all that other 
stuff to it. And I do believe that's what we all 
have been trying to do. Maybe there are 
times when it's hit and miss, but I know that 
has been everybody's objective." 

When Deadly Games was first conceived, 
the plan was to present it as a six-part mini- 
series, more like a British "series," but as co- 
executive producer Leonard Nimoy pointed 
out in STARLOG #219, the concept evolved 
into a real series with an open ending. 
According to Gibb. this changed how the 
Gus-and-Lauren relationship was structured. 
"What has been interesting is that, because 
we don't know how long we're going to be 
on the air, we haven't known how far to go 
with the relationship. If this had remained a 
six-part mini-series, we would have shown 
Gus and Lauren in the first episode being 
kind of antagonistic to one another. Gus 
would still have been pining over her, with 
Lauren completely pissed off that he's back 
in her life, and that she has to play this stupid 
video same. Over the course of the mini- 

Games are usually for children, but thanks to her ex, Gus (James Calvert), and his 
assistant Peter (Steven T. Kay), Lauren Ashborne (Cynthia Gibb) is playing Deadly 

series, this would have evolved into seeing 
that there really is deep emotion and caring 
and love for one another that still exists, 
maybe bringing that full circle by the end. 

"But since we could be on the air for 
seven years, we can't completely arc it now, 

"She's clearly annoyed with the whole 
situation that her ex-husband has 
accidentally put her into," says Gibb of 
the games she must play. 

because we would have nowhere to go. So, in 
the 13 episodes we've filmed, we've tried to 
keep a bit of the antagonism, while recogniz- 
ing that there are still a lot of heartfelt emo- 
tions for one another. When you've really 
been in love with someone, I don't think that 
love ever goes completely away — and that's 
the case with Gus and Lauren. There are still 
bonds between the two of them that will 
never be broken. The writers and producers 
try to give us moments in the series that show 
that, without getting us back into bed." 

As those who've seen the show know, 
Gibb is an expert at playing this kind of sar- 
castic, screwball comedy. "I would love to do 
this kind of role in a film, where the charac- 
ters have more of a chance to be well-round- 
ed, where there can be a more intricate 
story/plot. On a TV show, you're limited to 
whatever it is, 43 minutes, to tell an entire 
story. And that means that as actors, you 
don't have much time to work on stuff. 

"I'm happiest on the show when the role 
is its fullest — when I get to have a real scene 
in an episode, a scene with an emotional 
through line to it, something with some depth 
and reality to the relationships, in addition to 
having some great action and being able to be 
very broad, as the Girl, to be over-the-top and 
comic book-like. The more colors the better." 

This role (or roles) is distinctly different 
from the parts that Gibb has played in the 
past, which is one of the main reasons she 
took it in the first place, to do something she 
hadn't done before, and to do more comedy. 
"I had the best time of my life last year on 
Madman of the People, and I was really dev- 
astated when it was cancelled. I felt like I was 

BILL WARREN, veteran STARLOG corre- 
spondent, is the author of Keep Watching the 
Skies! (McFarland). He examined Deadly 
Games in issue #220. 

SJARLOGIDecember 1995 53 

just starting to be comfortable with comedy. 
Deadly Games has a lot of humor in it, and 
although it's not labeled as such, it really is a 
romantic comedy, in addition to being an 
action-adventure piece. I haven"t done much 
action-adventure stuff myself, so that was 
also appealing to me. 

"Every episode we work with special FX. 
Blowing things up on set happens a lot, and 
generally the stunt people are put in for that 
kind of thing. However, we've all been 
squibbed at least once, and we've all had our 
clothing start to smoke."' 

Her co-stars on the series are James 
Calvert as Gus, Stephen T. Kay as Peter 
Rucker, Gus' lab assistant and best friend, 
and Christopher Lloyd as the super-villain 
extraordinaire, Sebastian Jackal. As Gibb 
says, "I just have such a pleasant experience 
with my co-stars. James is the most consider- 
ate, lovely human being; he's very bright, 
very giving and a very, very supportive team 
player, always optimistic. I've rarely seen 
James in a depressed or negative mood: he's 
always positive and giving. 

54 STARLOGIDecember 1995 

While Lauren does have a different rela- 
tionship with Peter than she does with Gus, 
fans will learn over the course of the series 
that Peter himself has a crush on Lauren. 
That relationship, says Gibb. is "fun to play. 
For Lauren, it's subconscious until the last 
couple of episodes." 

Deadly Destiny 

Most actors knew that's what they wanted 
to do rather early in life, and steered their 
careers in that direction, but Gibb almost 
backed into acting. "I grew up in the dance 
world," she says. "My mother was a dancer, 
and I saw how desperate the lives of dancers 
could be, always looking for work, and hav- 
ing to take on other jobs to support them- 
selves. I saw how masochistic that profession 
can be. And I likened the acting profession to 
the dance world. I thought there was no rea- 
son I should have to be desperate in my life; 
I'm capable of doing anything I want to. I 
was just out of high school, graduating with 
honors: I could be whatever I wanted — all I 
had to do was decide, and study. 

"Then, I got a job on a soap just before I 
started college, a two-year contract on 

Gibb is enthused to be 

working with 


Jackal's alter-ego. 

"Christopher Lloyd 

is a charming actor, 

and a very sweet 

person. I think 

infinitely highly 

■« of him." 

"Christopher Lloyd is a charming actor, 
and a very sweet person. I think infinitely 
highly of him. Stephen always keeps me 
laughing; he's just hysterical. I've had a great 
time working with him. Stephen's easy to be 

"She just wanted that 

recognition so badly 

that she demanded it 

from the worl* * 

around, and I enjoy his creativity a lot. He 
has great taste in music, and he's about to 
direct a film, so he has an interesting take on 
things from a directorial perspective. Having 
two guys to work off of has made it more 
interesting, because Lauren's relationship 
with Gus is very different from her rela- 
tionship with Peter. And I think that has 
been a good tool in giving the charac 
ters more color." 




Search for Tomorrow. I felt that would be a 
very good way to make money for college, 
because at that point, we didn't know how we 
were going to pay for it. My sister was going 
to Yale at the time, which was very expen- 
sive, and there was no financial aid available 
to us. So. I thought the acting job was a great 
thing to do — stay in New York for a couple of 
years, make some money, go to school. 

"But as I was doing the show, I gained a 
great respect for soap actors, because it's a 
very, very tough job. I was abysmally bad 
when I started the show; I was unwatchable," 
she admits with a laugh, "and I hate doing 
anything badly. So, I started studying acting, 
and as I studied, I caught the bug. Now I'm 
committed to it." 

Gibb's drive for excellence is one of the 
things that leads her to regret having starred 
in Short Circuit 2. "In hindsight." she says, "I 
feel it's a mistake to do a sequel in somebody- 
else's role. Although the character name was 
different. I was basically playing Ally 
Sheedy's role from Short Circuit. I don't 
think that trying to reinterpret someone else's 
attempts can ever benefit an actor, and I'm 
kind of sorry I tried." 

This is not to say she had any problems 
while making the film. She speaks well of 
director Kenneth Johnson, and particularly of 
co-star Fisher Stevens. "I adore Fisher," she 
says, "we get along famously. We had the 
best time making it; Fisher and I became very 
close. We lost touch for a while when we 
were both busy working in different parts of 
the world. But this past winter, we ran into 
each other while skiing in Aspen, and had the 
best time. I think he's incredibly talented, and 
he's a blast." 

Her most satisfying role to date, says 
Gibb. was that of Gypsy Rose Lee in the TV 
production of Gypsy, in which Bette Midler 
played the ultimate stage mother. Rose Hov- 
ick. Gibb plays Gypsy — at first, merely 
Louise Hovick — from a young teenager to a 
vibrant, confident woman in her 20s, having 

transformed herself into the classiest stripper 
in history, Gypsy Rose Lee. 

"I'm very proud of having been part of 
Gypsy," Gibb asserts, "and I'm proud of the 
job I did in it. It was a very tough role for a 
number of reasons. Aside from requiring act- 
ing, dancing and singing training, and a huge 
range, having to go from a 15-year-old wall- 
flower to a vixen, the queen of burlesque, it 
was also a very difficult production to step 2 
into because I had enormous shoes to fill- 

"There is... a residual 
love that exists 
'een f 

Gypsy, she overcame enormous hurdles by 
fighting for a career bigger than her sister's 
ever was. She didn't have particular singing 
or dancing abilities; she was strictly a prod- 
uct of her own making. She just wanted that 
recognition so badly that she demanded it 
from the world, and made the most of the 
abilities she did have. She didn't allow the 
rest of the world — including her mother — to 
tell her what she was able to do, and what she 
couldn't do. She's a huge lesson for all of 

Like Gypsy, Gibb wants "to do every- 
thing. I want to have another child, or two. I 
want to have a film career, and I want to sing. 
I just want to keep growing." 

And if anyone reading this has dreams of 
being an actor, Gibb has some advice for you. 
"Get as good an education as you can, first of 
all, so you always have choices — you never 
want to be hostage to this profession. You 
always want to have other things that interest 
you, so you don't buy into the desperation. 

"Do theater, as much theater as you can, 
and only keep positive, supportive people 
around you. If anybody doubts you for want- 
ing to do what you want to do, get them out 
of your life. You meet enough negativity and 
rejection already — it's par for the course — so 
there's no room for it in your personal life." 

And that's something that Gypsy Rose 
Lee, Lauren Ashborne and Cynthia Gibb 
would aaree upon. 





those of Natalie Wood [in the 1962 film] and 
everyone else who has done the role before 
me. And I had to be very sure to just stand my 
ground and do my performance, and not try 
to compete on any level with Bette, because 
nobody can do what Bette does. I just had to 
do my work, and go through the process like 
I did for any other show, for any other role." 

Apart from the musical itself, Gypsy Rose 
Lee isn't talked about much today. She was 
fabulously famous during her heyday, not 
only for stripping, but for acting in movies 
and writing novels, one of which was filmed 
(as Lady of Burlesque). "She was an amazing 
person." Gibb raves, "an amazing study, 
because she was the ultimate personification 
of the Ugly Duckling. She was an over- 
weight, very plain-looking child who was 
totally overshadowed by her younger, 
adorable, talented sister." (The sister. "Baby 
June," a big star on stage as a child, grew up 
to be actress June Havoc.) 

"Their mother, Rose, never minced words 
when it came to pleasing June, her youngest 
daughter, and criticizing her eldest. Louise. 
When Louise transformed herself into 

"What I found appealing about Lauren 
and the character in the video game is 
that at times she is a heroine, and at 
times she's a damsel in distress," Gibb 

STARLOCDecember 1995 55 

Caroline John found her way into TV, acting scientific in Doctor Who. 

In 1970. not only did the entire world wit- 
ness the dawning of the Age of Aquarius, 
but also the beginning of a new decade for 
the BBC's long-running SF series Doctor 
Who. The TARDIS now materialized in color 
and was controlled by a new Doctor in the 
persona of Jon Pertwee. Helping the Time 
Lord battle enemies both terrestrial and 
extraterrestrial were the men and women of 
U.N.I.T. (United Nations Intelligence Task- 
force), as well a new companion, the strik- 
ingly beautiful and highly intelligent Cambridge 
University scientist Liz Shaw. 

Described at the time by Britain's Sun 
newspaper as "a rather cool, scientific lady." 
Liz Shaw was played with warmth and feel- 
ing by Caroline John. The show's producers 
at that time, Derrick Sherwin and Peter 
Bryant, were looking to change the series' 
feel to attract more adult viewers. Along with 
having degrees in physics and medicine, the 
Doctor's new companion was also very 
attractive. That combination helped Sherwin 
and Bryant attain their goal. 

One of eight children, John was born in 
York and brought up in Kenilworth. England. 


Her father ran the Midland Theatre Company 
in Coventry. Being born into a theatrical fam- 
ily helped influence her career goals. "I actu- 
ally wanted to be a dancer," says John, "but 
changed it to acting at age 13 when I played 
Puck in an amateur theater production of .4 
Midsummer Night's Dream. 

"That same year, I also appeared in a film 
called Raising a Riot, starring Kenneth More 
and a little girl named Mandy Miller, who 
was quite famous at that time. I only worked 
on the film for one week but thoroughly 
enjoyed it. I went back to school, took all my 
exams, and when I graduated. I went to 
France for a year to work as an au pair. 
which I didn't like very much, though I did 
learn to speak French." 

After training at London's Central School 
of Speech and Drama, John worked exten- 
sively in British repertory theaters. She 
appeared in Ipswich and Worcester opposite 
her then husband-to-be. actor Geoffrey 
Bee vers. The actress went on to work with 
the Royal Shakespeare Company before 
joining the National (now Royal) Theatre, 
then under Sir Laurence Olivier's director- 

ship. She acted there for the next four years 
in numerous productions, including Juno and 
the Paycock, Much Ado About Nothing, 
directed by Franco Zeffirelli, and the pre- 
miere performance of Tom Stoppard's 
Rosencrantz and Guildenstern Are Dead. 

New companions 

Toward the end of the '60s, the actress 
became determined to pursue more televi- 
sion work. She had done two television 
plays, The Black Madonna and an adaptation 
of the Zeffirelli Much Ado About Nothing. 
"Because of all my theater work, I suppose I 
was known as a classical actress," says John, 
"and that made it more difficult for me to get 
into television. 

"I wrote letters to various TV producers 
and directors but got very little response back 
initially. I sent a second letter and included a 
photo of myself in a bikini. This time I got 
several interviews, which says something 
about producers and directors," she laughs. 
"My photograph was passed on to Derrick 
Sherwin and Peter Bryant, who were looking 
to recast the girl for Doctor Who, having 

56 SJARLOG/December 1995 

A classically-trained actress, John had 
some trouble making the jump to 
television, until she decided to make the 
most of her good looks. 

already cast Jon Pertwee as the new Doctor. I 
got an interview, and eventually the role of 
Liz Shaw, which was wonderful." 

Providing the link between the Doctor 
and the British Division of U.N.I.T., Liz 
Shaw was the miniskirted companion with a 
first-class brain. "When I went for the inter- 
view, they told me that they were looking to 
make Doctor Who more adult. Liz was to be 
a very brainy scientist who was at Cambridge 
University doing postgraduate work. I found 
the whole concept of the character quite 
interesting and was relieved that she didn't 
have to be a bimbo. It did vary, however. 
When I was doing my second story, "Doctor 
Who and the Silurians,' a new producer, 
Barry Letts, came on board. I found that each 
of the different directors and writers I 
worked with on every new story required 
something different from my character. 

"Many people ask me why I had so many 
different hairstyles," continues John. "I was 
very naive at the time, not wanting to be tem- 
peramental, and, to borrow a phrase, I 
allowed too many cooks to spoil the broth. 
What I should have done was say, 'Listen, I 
want my hair down and there's going to be no 
two ways about it.' 

"It was the same with my clothes. I got on 
very well with the costume designer, Chris- 
tine Rawlings, but for some reason I wasn't 
allowed to wear trousers. When it came time 
to film 'Doctor Who and the Silurians,' we 
had to go down into the mines. I begged them 
to allow me to wear trousers and they said. 
'No, no, no.' When I walked on to the set, Jon 
looked at me and asked, 'You're not going 
down into the mines in that miniskirt, are 
you?' When I told him that they wouldn't let 
me dress any other way, Jon made a fuss for 
me and they finally let me put on one of the 

"I would have liked to have suggested 
more fun between the Doctor and Liz," 
says John, in retrospect. 

extras' mining suits, which ended up looking 
rather good. Knowing what I know now, I 
would have made that fuss for myself, but, 
being new and green, I didn't want to cause a 
commotion, so I allowed people to dictate to 
me a bit." 

"Doctor Who and the Silurians" was 
extraordinary in many ways. Not only was it 
the only serial to contain the words "Doctor 
Who" as part of its official title, it was also 
the first to use color separation overlay 
(CSO). wherein the image of one camera was 
combined with an image from another and 
manipulated to achieve a variety of on-screen 
FX. "I quite enjoyed doing that episode," 
John says, "although at the time I didn't think 
I was very good in it. The BBC recently sent 
me a tape of the program, and when I 
watched it, I ended up being quite pleased 
with my performance." 

Old companions 

When the third Doctor tumbled uncon- 
scious out of the TARDIS in his first adven- 
ture "Spearhead from Space," he had no idea 
that he would soon find himself battling the 
formidable Nestene intelligence and its ser- 
vants the Autons, plastic human facsimiles 
being used to replace key government fig- 
ures. "The first day of filming was horren- 
dous," recalls John. "I didn't have very much 
to do. We were in some underground parking 
garage in the north of London and I was very, 
very nervous. 

"We would always film any outdoor 
scenes first, have a read-through of the 
remaining scenes in the script and then, week 
by week, do all the interior shots of which- 
ever episode we happened to be working on. 
During 'Spearhead from Space,' we had to 
film some scenes at Madame Tussaud's in 

"I thought I should get a bit more 
involved before I died," declares John, 
who has been making the rounds at 
Doctor Who conventions. 

London, as the Autons were supposed to be 
dummies. It was actually quite terrifying, 
because we did it all through the night and 
there were times that you didn't know who 
were extras playing Autons and which were 
the waxworks. 

"After we finished filming, everyone said 
to me, 'See you in Evesham tomorrow,' and I 
said, 'What? Don't be daft,' and they said 
again, 'No, we're going to Evesham tomor- 
row.' There was a technician's strike on at the 
BBC so they couldn't tape anything in the 
studio. It was decided to do 'Spearhead from 
Space,' which was four episodes long, all on 
film. We had completed a little bit of indoor 
filming, but the remaining parts of the script, 
scenes we would normally shoot in a studio, 
were all to be done on film. At the time, I was 
living in Ipswich, which was two or three 
hours away by train. I had to rush up there, 
collect all my gear and get to Evesham, 
which was in the opposite direction, for film- 
ing first thing in the morning. You can just 
imagine the hysterics needed in order to 
accomplish that!" 

John's husband appeared as a radio oper- 
ator in her third and penultimate Doctor Who 
adventure, "The Ambassadors of Death." "I 
enjoyed that one," says the actress. "Michael 
Ferguson directed and he was great fun to 
work with. This was another episode I saw 
very recently and there's one chap in it whom 
I don't even recall working with, and he's 
playing one of the leads ! I remembered cer- 
tain people, but not him, and I found it extra- 
ordinary that I could remember the little 
things but not the large events." 

In her final adventure, "Inferno," she 
found her work doubly hard but equally as 
rewarding. Along with playing Liz Shaw, 
John also played a radically altered mirror- 

STABLOG/December 1995 57 

image of the same character. "This episode 
was great fun because I had two roles due to 
the alternate universe. Looking at the whole 
of 'Inferno,' you can see where both Liz 
Shaws come from. One world made her OK, 
and the other made her into an absolute cow. 
However, her alternate image doesn't shoot 
the Doctor at the end, but actually helps him 
to get back to his own universe. I think that 
says a lot about the character." 

John has only praise for her Doctor Who 
colleagues Pertwee, Nicholas Courtney and 
John Levene. "All were very professional 
and great fun to work with," she says fondly. 
As for the stories themselves, "We had very 
good scripts, particularly 'The Silurians,' 
because it had such a good message in it, and 
one that I probably appreciate much more 
now that I'm older. When the army goes in at 
the end and destroys the Silurian base, you 
can really see how upset and disappointed 
the Doctor is in humanity. His reasoning was 
that maybe it's better to find out a little bit 
more about people and not to fear them 
before you go out and act the role of killer." 

Having recently seen all of her Doctor 
Who stories, is there anything she would 
have changed about her character? "I would 
have liked to have suggested more fun 
between the Doctor and Liz," John declares. 
"There is a little bit here and there and I 
thought it was wonderful. If there had been 
more of a twinkle in the eye from time to 
time, it might have lifted the series slightly. 
When you're doing something very serious, 
it's always good to have that little bit of light- 
ness and fun. It makes for a good balance." 

The final moments of "Inferno" found Liz 
Shaw smiling and laughing. This was also 
the last time audiences would see John as a 
series regular. "When I left Doctor Who. I 

was four months pregnant. I didn't tell any- 
one but I wouldn't have been asked to stay on 
anyway, as Barry Letts was looking for 
another ingredient. He was a new producer, 
and, obviously, wanted to make his mark on 
the series. It was also suggested that perhaps, 
for Jon's Doctor, the foil of someone who 
was very knowledgeable might have restrict- 
ed his character's reaction, although when I 
now see the four stories, I think it worked 
rather well." 

Past companions 

After having her first child, Ben (the 
actress also has a second son, Tom, and a 
daughter, Daisy), John decided to specifical- 
ly focus on television and films as opposed to 
theater, which gave her more time to spend 
with her family. Over the years, she has 
appeared in such TV projects as A Perfect 
Spy and A Very British Coup, both with the 
late Ray McAnally, Wish Me Luck, The 
House of Elliott, Poirot, The Hound of the 
Baskervilles opposite former Doctor Who 
star Tom Baker (produced by Letts), Moon 
and Son, The Bill and The Lord Peter Wimsey 

John also reprised her role of Liz Shaw in 
the Doctor Who 20th-anniversary episode 
"The Five Doctors." "I did that because I was 
broke," she says frankly. "I didn't have very 
much to do in it and wasn't tremendously 
happy with that." She also appeared with 
other Doctor Who personalities in the recent 
Children in Need charity appeal. "I found 
that to be good fun and I very much enjoy 
doing things like that, but— and I hate to 
have to say this— it really wasn 't a very good 
story. Having said that, and being fair to the 
writer, they were given the difficult task of 
having to take so many things into consider- 

"I learned television while I was with 
Doctor Who and will never be able to 
thank it enough," notes John. 

ation, along with showing so many facets of 
different assistants and Doctors as well as 
doing it so quickly." 

Out of the diverse characters she has 
played in various productions over the years, 
the actress remembers one as being particu- 
larly challenging. "I worked on an adaptation 
of the Charles Dickens novel Hard Times at 
the Orange Tree Theatre, an absolutely won- 
derful theater which is near where I live and 
where I work quite a lot," John explains. 
"There were four of us doing the whole play 
and I played three or four different roles, 
including that of an old spinster. I thought 
that particular part was going to be extreme- 
ly difficult for me, but in fact, I learned more 
from that role than from most things and 
enjoyed it tremendously. I've discovered that 
whatever role you're given is a challenge, 
and you hope you can learn something from 
it. I would rather get really good parts and 
work at them than be a personality actress." 

In recent years, John has appeared at vari- 
ous Doctor Who conventions and book sign- 
ings around Britain. "I thought I should get a 
bit more involved before I died," she says 
with a smile. John also worked in front of the 
camera with former Doctor Who star Colin 
Baker in the "Breach of the Peace" episode 
of the Stranger video series. 

Looking back on her work on Doctor 
Who, Caroline John says, "I learned televi- 
sion while I was doing Doctor Who and will 
never be able to thank it enough. The four 
episodes I did that year were a wonderful 
entrance into learning about the medium. I'd 
had a lot of grounding in the theater even 
before I went to the National Theatre, and so. 
when I went into the series, it was wonderful 
because I learned the whole technique of 
television and how to appreciate the camera 
and not be shy of it. I now really enjoy work- 
ing on television, and those four episodes of 
Doctor Who taught me a lot." -^ 

58 STARLOG/December 1995 



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in Silken 

Writing carefully, Maya Kaathryn Bohnhoff fashions elegant science 

fiction and fantasy with rivets. 

With her delicate Slavic features 
framed in long auburn hair, you 
would never peg Maya Kaathryn 
Bohnhoff as a Mafioso. But as a regular con- 
tributor to Analog magazine, she's a proud 
member of the "Analog Mafia" (Making 
Appearances Frequently In Analog). 

In her home deep in the heart of Califor- 
nia's gold country. Bohnhoff seems pleased, 
but by no means content, with her life as a 
writer. Happy with her family, her new home 
and her successful career in computer train- 
ing software development, she is. neverthe- 
less, intensely aware that there are many 
more short stories and books to write. 

Bohnhoff burst onto the science fiction 
scene in 1989 with a series of short stories in 
Analog. She had six stories published there in 
her first year of writing fiction professional- 
ly. Her first novel. The Meri (Baen, 1992), 
grew into a trilogy despite brain surgery and 
childbirth. Perhaps most remarkable was the 
fact that her very first story submission 
("Hand-Me-Down Town"; Analog. Decem- 
ber 1989) resulted in a sale. "That was great, 
of course." Bohnhoff recalls, "but it made 
later rejections hurt more." 

"Hand-Me-Down Town" wasn't the first 
thing she had ever written. "I had been writ- 
ing ever since I was knee-high to the prover- 
bial grasshopper." Uncounted SF and fantasy 
"verbal doodles," a mother who saved every- 
thing she wrote, a blue ribbon at the Nebras- 
ka State Fair and the support of several 
teachers kept her writing flame alive. 

Bohnhoff began reading SF seriously 
about 10 years ago. "and fell in love with it 
all over again. 

"After reading Analog for about a year. I 
submitted •Hand-Me-Down Town' to editor 
Stanley Schmidt, not expecting that he would 
buy it. but in the hope he might tell me where 
I could sell it. One day a letter from Analog 
arrived. I read it. expecting the rejection. 
When it finally penetrated that they were 
buying my story, I screamed and began jump- 
ing up and down, frightening my husband 
Jeff and my son. Alex ." 

Editor Schmidt took a chance with 
"Hand-Me-Down Town." "He told me that, 
yeah, it was only marginally SF. and that he 
would probably catch flak for it, maybe even 
lose a few subscriptions because of it. but 
that if a story didn't do that, then it probably 
wasn't really worth publishing in the first 

JOHN VESTER. California-based writer, 
profiled Kevin J. Anderson in STARLOG 

place, which I found a very enlightened atti- 

The Best Part 

One of the best parts of writing, for Bohn- 
hoff, was seeing her name in print. "That was 
impressive to me early on, seeing my name 
sandwiched in between those of Ben Bova, 
Poul Anderson and the like. 

"I also like seeing my work in print 
because I can read it as if it's someone else's. 
Once it's set in type, with those wonderful 
illustrations, it looks completely different. 
and I find myself saying. 'Who wrote this 
stuff? It's great!'" 

While these are all nice perks, the very 
best part of writing is the writing itself, 
which for Bohnhoff is as natural as breath- 

60 STARLOG/December 1995 

"I'm more interested in what goes on inside ■< 
character than outside," reveals Bohnhoff. 

ing. "I love writing as a way to explore chal- 
lenging ideas, and as a way to. as Ursula 
LeGuin says, 'put into words what can't be 
put into words.' 

"Writing is wonderful to me. It's espe- 
cially exciting when everything is working. 
It's exhilarating— like riding a rollercoaster. I 
feel like I'm soaring. When it's finished and I 
print it out and read it. if it carries that sense 
of soaring, that really is special. I think that's 
why I write." 

Aside from pure enjoyment. Bohnhoff 
takes the craft and process of writing very 
seriously. She has had an article on plotting 
published in Writer's Digest. She mentors an 
SF and fantasy writing group in Sacramento. 
She appears frequently at writing clubs and 
bookstores to discuss her craft, and she par- 
ticipates, whenever possible, in writing 
workshops at conventions. Even her personal 
biography reads, for three of its five pages, 
like a Whitman's Sampler of good advice for 
the aspiring writer. 

This concern for the writing skills of oth- 
ers has paid dividends in her own career. 
Bohnhoff feels. "It helps me internalize 
things I know intellectually about writing. I 
may say things four to five times in work- 
shops before I actually take it to heart myself. 
Also, working with other writers' prose 
enables you to articulate what the problems 
are, which is very important. There's nothing 
more unhelpful to a writer than to have 
someone say. 'I'm sorry. This just doesn't 
work for me." " 

After four novels. Bohnhoff is still very 
much committed to the short story form. 
"There seems to be a feeling in the industry 
that when you've had novels published and 

"I had no interest in fantasy," maintains 
Bohnhoff, who nevertheless started a 
successful fantasy trilogy with The Men. 

Art: Darrell K. Sweet 

you're established as a novelist, you 
should concentrate on doing only books. 
I don't feel that way at all. I love short 
fiction, and some of the stories that I 
want to tell frankly don't need to be writ- 
ten as books. I'm going to continue to 
write short fiction." 

The inspirations for Bohnhoff 's short 
stories have been as varied as their sub- 
ject matter— a dream, the dislocation of 
being an Army brat, the loss of a sister 
and even an article in a trade journal. Her 
first Rhys Llewellyn story ("Shaman": 
Analog. December 1990) "came from an 
article I read that described corporate 
structure as being very similar to tribal 
social structure. Llewellyn is a kind of 
coiporate shaman. He's sent into situa- 
tions on alien worlds that the average 
corporate negotiator can't handle." 

Rhys Llewellyn has spawned a half- 
dozen stories over the years, which 
Bohnhoff would like to see anthologized 
some day. "I would love to do that. The 
stories definitely build and Llewellyn's 
character develops, as do his relation- 
ships with other characters." 

The Writing Life 

Her science fiction stories deal more with 
the soft sciences than the hard ones. "Sociol- 
ogy, psychology, archaeology, anthropolo- 
gy—these are the areas I like to explore in 
my stories." She agrees with Robert Hein- 
lein. who said that good SF is not about tech- 
nology, but about the human reaction to 
technology. "I'm more interested in what 
goes on inside a character than outside." For 
Bohnhoff. this means that good fiction. SF or 
otherwise, is character-based more than idea- 
based. "As a writer. I want to know how to 
create characters the reader will care about. 
Characters are what pulls a person through a 
story. Ideas are great, but I've read books that 
have very strong ideas and very weak charac- 
ters, and they aren't as satisfying." 

Bohnhoff's popular character Rhys 
Llewellyn made his first appearance in 
the 1990 Analog story "Shaman." 

Bohnhoff studies other writers in polish- 
ing her craft— Dean Koontz for characteriza- 
tion, Edgar Allan Poe for structuring a short 
story, Kevin J. Anderson for managing a 
writing career. But Ray Bradbury is her 
greatest inspiration. "I can't overstate the 
impact Ray Bradbury has had on my writing. 
He made me want to explore language, and 
writing as a whole." 

Having established herself in short sci- 
ence fiction, it's a bit surprising that her first 
four novels are fantasy. No one is more sur- 
prised than Bohnhoff herself. "I had no inter- 
est in fantasy. I didn't read it. except for 
J.R.R. Tolkien's books. But The Meri 
demonstrated to me that, while I don't like 
reading fantasy much. I do enjoy writing it." 

The Meri began as a dream. "When I 
wrote it down, it was just going to be a short 
story I might try to sell to Marion Zimmer 
Bradley 's Magazine. But it grew into a novel- 
ette. Then, I was told that it needed more 
conflict, so I added 10.000 words of conflict 
and suddenly, I had a book on my hands. I 
sent it to my agent and Baen bought it." 

However, the transition from short stories 
to novels took some adjustments. "In writing 
a novel, you must maintain a full head of 
steam for much longer periods of time. You 
have to carry the emotional flow through 
whole scenes, and chapters. Distractions are 
a real problem. It's especially difficult if 
you're working full time. With all the other 
things needing to be done — all the things that 
go into making a life, and all the emotional 
ups and downs that go into a life — it's often 
very difficult to pick up where you left off." 

Being a wife, a mother and a career 
woman presents the struggling writer with 
difficult choices. "The time and effort I 
devote to my writing means that I'm not 
going to be as successful as I could be at my 
day job. or my music. So. there are trade- 

STAKLOG/December 1995 61 

The juggling act of being a working 
mother and writer became especially chal- 
lenging during the course of the trilogy. 
While writing Taminy. Bonhoff learned she 
had a brain tumor. She recalls the details of 
the diagnosis and surgery with the typical 
writer's eye for character and incident. 

"I had been having cyclic, often debilitat- 
ing headaches for years. After a discussion 
with my GP late in '92. 1 was scheduled for 

tumor that was causing me to be creative. But 
the operation had no detrimental affects on 
me that way. although pregnancy almost did 
me in. 

"I attended three conventions during 
1993 in varying stages of pregnancy. Wow, 
was that fun! Plus trying to get a book fin- 
ished. Although it was eight years since I'd 
had Alex, I remembered that somewhere 
around the third month, the brain just shuts 

Amazingly, Bohnhoff manages to find time to work full time and raise a family (that's 
her son, Alex) in addition to writing. 

an MRI scan. That was a short story in itself. 
I was lying there, inside the machine, for the 
first of two planned scans, and thinking. 
'This machine is cool!' It made all sorts of 
sounds, and was really very interesting. After 
they wheeled me out. my doctor explained 
that they would next inject me with a slightly 
radioactive substance to improve the resolu- 
tion so they could get a better look during the 
second scan. As they were explaining this, a 
technician walked in and asked. 'So. do you 
want to scan the whole thing again, or just 
the part that...,' at which my doctor turned 
and gave the hapless technician a withering 
look, shutting him up. but leaving me to fill 
in the blank. "The part that..." what? 

"That was on a Friday, so I had the whole 
weekend to wait for answers. But I knew 
something was wrong." 

The tumor was diagnosed as benign, for- 
tunately, and surgery was scheduled soon 
after settling on a surgeon, "who turned out 
to be a novel all by himself. He had pio- 
neered laser surgery techniques at the Uni- 
versity of California, Davis, and had been on 
television several times, testifying in a big 
crime case about his efforts to save a little 
boy's life. And he was an SF buff too." 

Surgery went well, although it took five 
hours. Bohnhoff was out of ICU in one day, 
and home again in three days instead of five. 
"I was afraid that the surgery would do some- 
thing to me and I would not be able to write, 
that it may have been the pressure of the 

down. I was scared to pieces. I had a deadline 
to meet. Then, Jeff said, in his typically prag- 
matic way, 'You'll do it. You'll do it because 
you have to.' 

Art: Darrell K. Sweet 

"While I don't like reading fantasy much, 
do enjoy writing it," explains Bohnhoff. 

"I've been fortunate to have some really 
great artists illustrating my work," says 

"Jeff was right, as it turned out, although 
I was two months late with the book. The 
book and the baby were running neck and 
neck. The baby was due November 12, 1993, 
and the novel was due November 5. The 
baby arrived October 25. I was afraid the 
publisher was going to shoot me for being 
late— they sent baby clothes instead, includ- 
ing a cute little astronaut puppet Christine 
just loves." 

The Magic Principle 

Bohnhoff "s forthcoming novel {Spirit 
Gate; Baen, February 1996), set in an alter- 
nate ancient Poland, will allow her to explore 
challenging ideas that are more often associ- 
ated with SF. "Spirit Gate operates on the 
Arthur C. Clarke principle that any suffi- 
ciently advanced technology is indistinguish- 
able from magic. My fantasy is hard to 
categorize sometimes. I think, because in my 
view magic is technology— the technology 
of the fantasy world." And just as in the real- 
world hard SF of atomic bombs, there is 
always what Bohnhoff calls a "phase prob- 

"When we reached the Atomic Age. we 
weren't really quite wise enough. We had to 
make that one ultimate blunder. Then, every- 
body stood back and said, 'Whoa! Can't do 
that again.' 

"I think that happens every time a techno- 
logical barrier is breached— there's a period 
when it's very dangerous, as we struggle to 
get our spiritual, intellectual, moral and ethi- 
cal self in synch with our technological abil- 
ities. That's really what Spirit Gate is all 
about— a new magical power with great 
potential for good or ill. It has the ability to 
change the entire landscape of this world." 

Such serious themes are not common in 
fantasy. "True. There's a belief out there 
among mainstream writers and readers that 

62 STARLQG/December 1995 




fantasy is all about escaping— or all about 
nothing at all. But there's a lot of fluff in the 
mainstream as well (or in SF and fantasy, for 
that matter). Still, there's a lot of good stuff 
going on in the genre." 

Is it escapist? "No. but people do escape 
into books. I don't want to read heavy politi- 
cal treatises all the time. I'm inundated, 
through work and the news, with that stuff all 
day long. I go to the movies and read books 
for fresh insights, new ideas, transcendence 
or release. Plus, fantasy has a natural appeal, 
portraying, as it usually does, a simpler place 
and time." 

All this interest and opinion aside. Bohn- 
hoff resists being typecast as a fantasy writer. 
"Now I feel like I'm fighting these four nov- 
els—that they've become baggage. There 
now seems to be this idea that I'm a fantasy 
writer and that if I write SF. or long SF, I'm 
switching genres — crossing genre lines — 
which is silly because I've been doing SF for 
five or six years. I consider myself to be an SF 
writer first." 

After the first few books. Bohnhoff found 
it hard to get back to science fiction. This was 
partly because, being the first thing she sold, 
fantasy was easier to create proposals for. 
Also, she found fantasy easier to write. "But I 
want to write SF that examines the motives 
and actions of characters." 

Bohnhoff is now working on her first SF 
novel. At the moment, it's an idea and a few 
chapters. She has no contract and she doesn't 
know if it will go anywhere, but she's com- 
mitted to it. "I'm very intrigued by it and 
involved with it emotionally. I may be the 
only who thinks I can pull it off at this point, 
but I know I have to. to prove to myself I can 
do it." 

The new novel is a science-fiction murder 
mystery dealing with cyberspace. Although 
this isn't new literary territory. Bohnhoff feels 
that the field has settled down, and that the 

The Spirit Gate, Bohnhoff s latest novel, 
will be published in February by Baen 

Her frequent appearances in Analog 
magazine have made Bohnhoff a part of 
the Analog Mafia (Making Appearances 
Frequently In Analog). 

ideas are more coherent. Her own preference 
for dealing more with characters than tech- 
nology gives her. she feels, a good entree into 
the realm of "virtual" mystery and suspense. 
It doesn't hurt to be strong in computer 
programming either. "It helps to be able to 
say to an editor, T do know that that plot ele- 
ment will work.' I've done that. I actually 
pulled rank on Stanley Schmidt at Analog 
once, although it's usually the other way 
around. My nanotechnology may not have 
been up to snuff, but my programming was." 

The Global Faith 

All of Bohnhoff 's fiction is illuminated by 
her Baha'T faith. "It's very important to me. 
I tend to work it into all my writing. When I 
deal with sociological problems. I try to deal 
with them from a Baha'T perspective. I've 
mentioned the faith a few times in my work, 
and I have a few characters who are Baha"i'. 
but it's never the focus. I view religion as a 
living part of any culture, in my stories just as 
in real life." 

Baha'T. a 19th-century offshoot of Islam 
with a large and growing following in this 
country, has much in common with science 
fiction. "Certain ideas are inherent to both. 

Art: Darrell K. Sweet 

Concern for the future of mankind, chiefly." 
The manifest social destiny of humankind, 
according to Baha'T. is world unity and a 
global society in which countries are federat- 
ed units that give up some sovereignty for the 
betterment of the whole. 

The next logical step is to leave this plan- 
et and begin forging a galactic society with 
other intelligences out there, other "races of 
men." "No one country has the resources to 
give over to that big an undertaking, so we 
won't get off this planet until we have mas- 
tered, not just the physical resources, but also 
the emotional, spiritual and intellectual 
resources necessary. A total global communi- 
ty. That, in a nutshell, is the whole emphasis 
of the Baha'T faith, and what we'll need to 
enable us to meet, learn from and grow with 
other races of men." 

As a Baha'T. Bohnhoff believes that 
these things are absolutely inevitable. "I wish 
I could live for 1 ,000 years or so to see it." 

But for the foreseeable future. Bohnhoff 
will continue to spin yarns that soothe with 
their silken prose while honing the steel edge 
of reason in the discussion of challenging 
ideas. What does she recommend for the new- 
comer to her work? "Well, starting at the 
beginning. The Meri is a good one to read 
first. It's a coming-of-age tale, with a twist. 
But. more importantly, it gives a history of the 
realm, and tells you who or what the Meri is. 
before plunging you into the politics of the 
place. But at the very least, 
read Taminy before Crystal 

"As for science fiction, 
'A Tear in the Mind's Eye' 
[Analog, May 1993] 
approaches what I want to 
accomplish in SF. in terms 
of subject matter. Other than 
that, I particularly like the 
Rhys Llewellyn stories, 
especially 'The Secret Life 
of Gods' [Analog, Septem- 
ber 1995]." 

Bohnhoff also writes sto- 
ries that fall through the 
cracks. Such a story is "The 
Boy Who Loved Clouds" 
(Amazing, April 1993). "It's 
my favorite of my fantasy 

Aside from Spirit Gate 
and the gestating SF novel, 
other forthcoming work 
includes another Rhys 
Llewellyn story in Analog. 
"Marshmallow," and "Sons 
of the Fathers" in the fall 
issue of Century magazine. 
"This one royally fell 
through the cracks." 

Wherever the writing life 
ultimately takes her, Maya 
Kaathryn Bohnhoff's jour- 
ney so far has brought her at 
least as much adventure and 
satisfaction as she provides 
her readers. And, like her 
fans, she's eager for more, w 

STARLOG/December 1995 63 



{continued from page 33) 

Ground Zero, is set for release next month. 
Three more X-novels are planned for 1996. 
Additionally. horror/SF writer Whitley 
Strieber— who chronicled his own "true life" 
encounters with aliens in Communion — has 
come forward as another author interested in 
an X-Files project. HarperTrophy is publish- 
ing a series of young adult episode noveli- 
zations. written by Les Martin. An 
X-companion guide is due out shortly. 

By contrast. Topps' comics series (STAR- 
LOG #212) has been a virtual mirror of the 
TV series' success, beginning with a low 
print-run before emerging as one of 1995's 
hot titles. Writer Stefan (Duckman comics) 
Petrucha has done well with the first few 
issues, keeping in the "mystery with a twist" 
territory mapped out by Carter and company. 
While artist Charles (Mars Attacks) Adlard 
has been blasted by fans for his renditions of 
the main characters, he does bring across the 
essential atmospheric moodiness. Carter 
describes the comics as "fun," noting that 
stylistic differences in storytelling will 
always be apparent in differing media. "The 
stories are a little bit different, but it's a 
comic book, so they have to be." 


As far back as 1994. there was loose talk 
that Fox had approached Carter to begin 
developing an X-Files spin-off. Many ideas 
were bandied around: while fans certainly 
won't see Deep Throat: The Early Years. 
there was talk of a Lone Gunmen show fea- 
turing Mulder's erstwhile conspiracy-hunter 
buddies, and perhaps a vampire series. The 
latter rumor grew out of the episode "3." 
wherein Mulder investigates a trio of appar- 
ent vampiric murderers. "There was never, 
ever, an idea to spin off the vampire 
episode," Carter clarifies. "The spin-off 
would be from The X-Files generally [not 
just from any one show], but that isn 't in the 
works right now— because I don't have any 
time to do it. But I certainly have many ideas 
of how to do. if not a spin-off. then a com- 
panion piece for The X-Files." The new work 
would take the form of an ongoing series, 
rather than a TV movie, a special or a mini- 
series. "It's still rattling around my head." 

And what of the plans to take Mulder and 
Scully to the big screen in a theatrical fea- 
ture? "They're not rumors, it actually is mov- 
ing forward. It's just a matter of time when it 
will be written, when the actors are available 
and when it will be shot. 

'"They'll be wheeling me in in a wheel- 
chair." Carter jokes, imagining his appear- 
ance at the show's 25th-anniversary 
convention come the year 2018. ''I can't even 
see a year into the future!" he says. "It would 
be wonderful to put down my bit of televi- 
sion history." Does Chris Carter ever have 
any doubts that the show will go the dis- 
tance? "No." he simply answers, with solid 
and confident resolve. Clearly, the truth will 
be out there for years to come. •$% 

64 STARLOG/December 1995 


(continued from page 1 7) 

(KOC 3-7909-2) includes several tracks 
not on the Columbia release of original 
tracks. Reckless Nights and Turkish Twilights 
(CK 53028). 

DRG Records has dipped into the Italian 
soundtrack well to create another double CD 
set for An Emtio Morricone Western Quintet 

The voice of Belle in Disney's Beauty and 
the Beast. Paige O'Hara, has recorded a col- 
lection of Jerry Herman Broadway tunes for 
Varese Sarabande entitled Loving You (VSD- 
5586). Fans of the poetry readings on Beauty 
and the Beast: Of Love and Hope, the TV 
score album (Capitol CDP7 91583 2), might 
do well to check out the Miramax/Hollywood 
Records soundtrack to The Postman (II Posti- 
no) (MN-62029-2). The first half of the 
album interweaves Luis Bacalov's lovely 
score with classic Pablo Neruda poems read 
by the likes of Willem Dafoe. Ralph Fiennes. 
Samuel L. Jackson. Julia Roberts and Wesley- 

Miramar is releasing all three music 
videos in their Mind's Eye series in one boxed 
set. CDs of the scores by Jan Hammer, 
Thomas Dolby and James Reynolds are 
available as are their two latest albums. Coen 
Bais' Socu (23062-2) and Zazen's Canyons 
of Light (23061-2). 

Those Naxos Audiobooks mentioned in 
#219 can now also be ordered through Audio 
Editions, the books-on-cassette/CD mail or- 
der service. They're also carrying the two 
Nitpickers Guides for both Star Trek TV 
series and the Rene Auberjonois reading of 
Batman Forever. To request a catalog, you 
can e-mail or call 1- 

Promotionals: Lee Holdridge's latest 
giveaway is selections from his score to the 
CBS-TV mini-series Buffalo Girls. A disc 
containing selections from the first Beast- 
master film was expected, but CAM Records 
in Italy recently announced they were releas- 
ing the music to the public shortly. 

Craig Safan. who hasn't been heard from 
much since his Last Starfighter days, has pro- 
duced a promo of his Major Payne film 
score. He has been concentrating mostly on 
television these last few years. 

Changes & Delays: DCC Compact 
Disc's previously announced expanded 
Raiders of the Lost Ark album will not be 
pressed in 24k gold: however, the vinyl two- 
record set will actually have more music for 
some bizarre reason. 

Intemedia's announced release of John 
Massari's "lost" music from The Ray Brad- 
bury Theater, first noted in STARLOG #215, 
is still not out as of presstime. Information as 
to the nature of the delay, the actual release 
date of that album or their two other planned 
releases has been unavailable. Milan's previ- 
ously announced Mel Brooks anthology is 
not on the current release schedule and may 
be cancelled. 

—David Hirsch 

(continued from page 51) 

"When we've been trying to promote this 
cause, we've been met by people saying. 
'Oh. but surely, everybody in show biz is 
rich, aren't they?' God bless their innocence. 
So. we went on slogging away at this until in 
summer 1993. we opened the first of these 
Performing Arts Lodges. We hope before 
long that there will be another on the west 
coast in or near Vancouver. I. being a Canadi- 
an citizen, am naturally very much interested 
in these projects, particularly since I've been 
so fortunate in our profession, and I know 
that far too many people haven't been so for- 
tunate through no fault of their own." 

Nowadays, Morse and his wife Sydney 
divide their time between Canada, where 
actress daughter Melanie lives with her hus- 
band, actor Donald MacQuarrie. and daugh- 
ters Vanessa and Megan-Louise, and 
England, where son Hayward pursues a suc- 
cessful career on stage. TV and radio. "About 
10 years ago, my wife discovered that she has 
Parkinson's disease, which, as you may- 
know, is a rather unpleasant and progressive 
disease affecting balance and mobility. 

"She has borne with it very bravely and is 
still able to travel about with me, although 
not as much as we used to do. At the moment, 
she is with me here in Toronto, contributing, 
as I like to say. to the further ruin of our 
granddaughters. They're a great joy to us and 
that's one of the reasons we like to come back 
here to Toronto as often as we can." 

What continues to make the business 
exciting for Morse? "I suppose what makes it 
both exciting and rewarding is when what you 
have been seeking to do is actually received 
and perceived by the audience, or customers 
as I call them, as being more or less what you 
have been attempting to deliver." 

With a career spanning more than a half- 
century. Barry Morse has so far played more 
than 2,000 parts on stage, film, television and 
radio. But, is there any one role that he has 
found particularly difficult or challenging? 
"The most challenging role is always the next 
one." he says. "Whether or not it's going to 
be difficult is. of course, another matter, but 
I've always been able to look forward to 
challenges and to cherish and enjoy them. 

"Many actors in today's world, or so- 
called actors, usually referred to as movie 
stars, don't really do much in the way of act- 
ing, as I understand it. They pull the same 
faces and make the same noises they get out 
of bed with in the morning. It's their man- 
agers who are able to market a career out of 
all that, but it's not what I grew up believing 
was acting. 

"The whole of my career, such as it has 
been, has been an attempt to explore and 
enlarge whatever natural gifts I may have, 
and by the day-to-day practice of those natur- 
al gifts, to try to expand and polish them. I 
like investigating and. if possible . creating , or 
at least examining, all sorts of human charac- 
teristics. To that extent, my favorite role is 
always the next one." -^ 


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fcBSteffo American 

When Red Dwarf 
entered American 
orbit, Craig Bierko 

became the last 
human alive. 


Since 1987. the BBC series Red Dwarf 
has entertained audiences around the 
globe with its less-than-ideal characters 
adrift in deep space. Dave Lister (Craig 
Charles), the last human being alive, is far 
from his species" best example. To keep him 
from going insane, Red Dwarfs malfunction- 
ing main computer Holly (Norman Lovett, 
later Hattie Hayridge) brought Lister's neu- 
rotic bunkmate Arnold Judas Rimmer (Chris 
Barrie) back from the dead as a holographic 
projection. Other cast members included the 
Cat (Danny John-Jules), a member of Felis 
Sapiens, and Kryten (Robert Llewellyn), a 
servile service mechanoid. While the British 
series is scheduled to begin production of its 
seventh season later this year, few fans know 
that two American Red Dwarf pilots were 
made in 1992. Instead of a pudgy Liver- 
pudlian. Lister in both versions was a stub- 
bled, good-looking guy from Detroit. 
Michigan, played by Craig Bierko. 

Originally from New York state. Bierko 
always knew he wanted to become an actor, a 
dream which his parents fostered. "They 
were actors early, early on. never really pro- 
fessionally." he says. "When they married, 
they both went into the business world, but 
they maintained a connection to that world 
through a local community theater they ran, 
the Harrison Players in Harrison, NY." 

Bierko studied acting at Northwestern 
University, then went out to LA. "The first 
series I ever did was Sydney, with Valerie 
Bertinelli." where Bierko played Matt Keat- 
ing, an anal-retentive young attorney who 
employed Sydney (Bertinelli) as a private 
investigator. "I also did a Norman Lear show 
called The Powers That Be. I was the crip- 
pled football player who was going to run for 
the Senate. Basically, for the past four years, 
what I've been doing with NBC is shooting 
pilots, starting with Red Dwarf, which 
haven't been picked up. because I usually 
choose the strange ones." Most recently, he 
starred in the short-lived series Madman of 
the People with Dabney Coleman and Pride 
and Jov with Julie Warner. 

American Dwarf 

Prior to his involvement in the Red Dwarf 
pilots. Bierko "never thought that much 
about science fiction. I never did any reading 
about it when I was a kid. I don't think I've 
ever seen a Star Trek episode. I loved the Star 
Wars movies, but that's about as far as it ever 
went for me." Ironically, he didn't think 
much at all of the first Red Dwarf draft he 
was given. "When I first read the American 
script. I didn't like it. I had never seen the 

British version, so I didn't quite get it. I 
couldn't envision this thing, and I didn't 
think it was all that great or funny." 

However, Universal (the studio produ- 
cing Red Dwarf Tor NBC) sent Bierko sever- 
al tapes of the original British show, "and I 
just fell in love with it," Bierko remembers. 

JOHN S. HALL, Massachusetts-based free- 
lancer, profiled RA. Sahatore in STARLOG 

SJARLOG/December 1995 67 

"I met with NBC and said, 'If this is the show 
that you're going to do, then I"m in." They 
said. 'Yes, and we're going to bring Robert 
Llewellyn over to play Kryten. We're think- 
ing of bringing the British producers [Rob 
Grant and Doug Naylor] over as well.' I had 
never done anything like this before, which is 
why I found it so exciting." 

But once work began on the pilot. Bierko 
found things getting increasingly difficult. "It 
was the first pilot I had ever done that I was 
playing the lead in. and there wasn't a great 
communication between the British side and 
the American side. American television is 
very good at screwing up a great concept to 
fit its own needs. Red Dwarf is wonderfully 
different, offbeat and very, very special. It 
has its own kind of intrinsic warmth, and I 
think that if you mess with the formula that 
Grant and Naylor created, then it just falls 
apart. That happened with this pilot." 

The script, adapted by Linwood Boomer 
from the British series' first episode, "The 
End," caused many problems during the 10- 
day shooting schedule until Grant and Naylor 
were allowed to doctor it. Bierko says. "They 
were able to make it much more specific and 
rewrote a lot of scenes. I thought it was 
absolutely brilliant." And if it hadn't been for 
Bierko's intercession, they might never have 
been able to rewrite: "On the fifth day, I was 
on the phone to my agent saying, 'Can you 
get me out of this? This is really terrible. 
They have these brilliant British guys over 
here who created the show, and the studio's 
not letting them write it. Unless these guys 
get to write the show and control it. I want 
out of here!' Believe it or not, they listened 
and gave control over to Grant and Naylor. 
and I think they did a wonderful job consid- 
ering the time they had. It's amazing they 

68 STARLOGlDecember 1995 

managed to get the laughs 
they got and still tell the 
story they had to tell." 

Bierko admits he did 
not really employ Craig 
Charles' Lister as a basis 
for his own pilot portray- 
al, "although I really, real- 
ly like him. He was so 
wonderful in the part. I 
have to admit, if I were 
producing the series. I 
don't know if I'm the guy 
that I would have cast as 
Lister: I would have 
ooked for somebody 
more like John Belushi. 
Physically. I'm more the 
American concept of what 
a space hero should be. 
but part of the charm of 
Red Dwarf is that Dave 
Lister is so much a guy 
who shouldn't be running 
a spaceship through the 

Whereas Charles' Lis- 
ter epitomized the laid- 
back slob. Bierko's Lister 
came across as more of "a 
rogue hero, and I think it 
took some of the charm away. The network 
watered things down and it became like 
everything else you've seen. It's much more 
fun to see someone like Belushi trying to pre- 
tend he's Han Solo than to see [someone like 
Harrison Ford] playing Han Solo. I still 
played Lister like a ne'er-do-well and a guy 
who couldn't accept responsibility. We really 
wanted to have fun with the fact that he could 
never get this girl Christine Kochanski (Eliz- 
abeth Morehead) and that she was his main 
focus for going back to Earth. That, or to find 
some sort of time warp so he could pull her 
into this reality again." 

Bierko has fond memories of his Red 
Dwarf co-stars. "I became fast friends with 
Robert Llewellyn. He was just wonderful and 
brilliant. I liked him from the first moment I 
saw him. He's beyond being extremely tal- 
ented and really, really funny, just such a 
warm person. That's very rare, especially in 
this business." He feels similarly about Jane 
Leeves, who played the half-senile computer 
Holly. "She was 14 feet off stage, facing 
another camera against a black background. I 
remember watching her and thinking she 
would be a future star because there she was, 
just sitting in a chair and being the funniest 
thing in the show!" (Leeves now plays 
Daphne, the loopy physical therapist in 

As for Chris Eigeman. who played 
"smeghead" hologram Rimmer. Bierko 
found him "a very nice, very talented guy," 
but notes that "it's very different shooting a 
sitcom in front of a live audience than shoot- 
ing a film. I know most of Chris' experience 
is in film: that's not to say that he wasn't tal- 
ented enough to make the transition, but the 
rhythm was slightly off and the network 
needed things to happen immediately. I'm 

sure that within an episode or two, Chris 
would have been absolutely fine, because 
he's very funny and was perfect for the part." 

Red Dwarf USA 

Once NBC saw the Red Dwarf pilot, 
"they weren't happy with it. They probably 
decided it wasn't going to work, but they 
needed to give Universal another swing at 
bat. just out of respect. Universal sank a lot of 
money into the pilot— I'm guessing a million 
dollars or more— which is saying a lot for a 
sitcom shot on videotape. It was an expensive 
pilot and it still didn't look all that great." 

For the second pilot, Hinton Battle's pale 
imitation of John-Jules' egotistical Cat gave 
way to a female spitfire who feared nothing 
because of her nine lives. "They thought we 
were a little top-heavy on men for American 
TV," Bierko explains. This time the Cat was 
played by Terry Farrell, who later landed the 
role of Lt. Jadzia Dax, the Trill Science Offi- 
cer on Star Trek: Deep Space Nine. "We shot 
that second pilot in about seven hours as 
opposed to the 10 days we had for the first 
one," remembers Bierko. "so I didn't really 
get to know Terry. I got to meet her about a 
year later, when I did a TV movie— Danielle 
Steel's Star— where she played my wife. 

Little Lost Holly 

While most fans of Red Dwarf axe famil- 
iar with the work of Norman Lovett and 
Hattie Hayridge. who played the first two 
incarnations of Holly, there's another version 
of the wisecracking computer they've proba- 
bly never seen. 

In 1992, when writer/producer Linwood 
Boomer (STARLOG #186) started putting 
together a pilot for an American version of 
Red Dwarf he cast British actress Jane 
Leeves as Holly. Leeves, who's currently get- 
ting a great deal of attention as the dizzy ther- 
apist Daphne Moon on Frasier. had been 
working in American television for several 
years. In addition to the bawdy talent scout 
Blue on Throb, she also played Miles' long- 
suffering girl friend Audrey on Murphy 
Brown, and Maria, the closet organizer and 
virgin in two episodes of Seinfeld. 

Leeves admits she wasn't familiar with 
the original British version of Red Dwarf 
before she landed the job of Holly. "I hadn't 
seen it, and I was glad of that later on when 
I found out what a huge cult it is. That was 
pretty daunting, to step into something where 
you felt you might be stepping on some- 
body's toes, not doing it the way they thought 
it should be done." 

Although Leeves was supposed to be 
playing a sentient computer, she tried not to 
think of the character in that way. "You really 
can't," she insists. "I did try to at first, but 
then I found out it held me back too much. 

"The way I played it— do you know how 
really smart people sometimes act a little 
wacky? That's what I wanted to do. I wanted 
to play Holly a bit like Robin Williams: Ev- 
erything that comes out of his mouth is hys- 
terically funny. He's totally mad. and yet you 

That"s where I really got to know her; she's 
very nice, very sweet and very talented." 

Of the original cast, only Bierko and 
Leeves were retained for the second pilot. 
Bierko admits he doesn't know the exact rea- 
sons why. "You never know what the net- 
work's thinking. I like to think it"s because I 
did a good job. that I was funny, and that they 
trusted it was going to get better. I was just 
happy to still be a part of it." Eigeman was 
replaced as Rimmer by "a very talented New 
York actor, and I can't remember his name," 
says Bierko. while there simply wasn't 
enough time or money to bring Llewellyn 
back from England: segments of him as Kry- 
ten were lifted from the British episodes and 
later incorporated. "Because we had so little 
money, we shot in a tiny studio the size of a 
living room." while the first pilot was shot on 
the stage now occupied by Coach. "The 
whole thing was more a screen test for the 
new people, and Grant and Naylor directed it. 
Visually, the second pilot was closer to what 
they wanted to do with the show." 

For 15 minutes, the pilot of Red Dwarf 
USA (as it was now called) informs viewers 
of its premise via Lister's narration to the 
mining ship's last message pod: his being the 
last human alive, kept company by a semi- 

Red Dwarf USA just didn't have the appeal 
of the original. "They lost what was so 
special and unique and British about it," 
contends Bierko. 

deranged supercomputer; an annoying holo- 
gram; a dim-witted mechanoid: and a cat- 
woman convinced that one male sexual 
partner "isn't even enough to open up your 

sweat pores." Bierko feels that "the second 
pilot was darker and creepier-looking, and I 
think it needed that. One thing that upset 
Grant and Naylor about the first pilot was 
how it was shot. Close-ups give you a sense 
of mystery and let your imagination run wild 
and create the world, which would be better 
than anything any special FX person could 
do. Shooting it like a normal sitcom took out 
the dark element of mystery as well as that 
fun science fiction feel. Seeing everything 
made Red Dwarf just a run-of-the-mill sit- 
com, which it definitely wasn't." 

Not surprisingly. NBC passed on the sec- 
ond pilot of Red Dwarf USA. "It was. as far 
as I know, the first completely British pro- 
duction of an American show. It would've 
been very exciting," Bierko says wistfully. 
"Tm still convinced that if NBC had fol- 
lowed through after they had committed to it, 
and if they hadn't shot Red Dwarf like every 
other American sitcom, it would have been a 
huge hit. The scripts that we had prepared 
were brilliant and really fun. My theory as to 
why the American version of Red Dwarf did 
not work was because they tried to make it an 
American TV show, and it just didn't click. 
They lost what was so special and unique and 
British about it." ^„ 

"My character was totally out of her 
mind," says Jane Leeves, who took the 
role of Holly, the wisecracking computer 
in the failed American Red Dwarf pilots. 

never for a minute think he's an idiot. The 
man is a genius, and I would say he was an 
inspiration for the role." 

Appearing with Leeves were Craig 
Bierko as Lister, Chris Eigeman playing the 
hologramatic Rimmer and Tony Award- 
winning singer/dancer Hinton Battle as the 
Cat. The only holdover from the original 
cast was Robert Llewellyn, who traveled 
over from London to play Kryten in the 
American pilot. 

"It was a wonderful group of people," 
remembers Leeves. "I thousht Hinton Bat- 

tle was outstanding, and so was Robert. It 
was one of the best experiences I've ever 
had; everybody was so nice, and we had a 
lot of fun together. We all shared the same 
silly sense of humor, and everybody under- 
stood each other." 

Because she was playing Holly, and 
only her head would be seen on the moni- 
tors, Leeves had to sit off-stage while the 
rest of the cast was shooting their scenes. 
"That was probably the hardest part of the 
job. I had to sit in a little booth by myself 
with a camera on me. They could see me 
on the monitor, but I couldn't see them, so 
it felt kind of weird, trying to get used to 

"I did have a monitor, but I had to turn 
it off, because when I appeared on the 
screen, it was just my face, and any eye 
movements would look really distracting. 
You could tell I was looking at something, 
so I couldn't use that monitor. It didn't look 
right, whereas if I just kept my head 
straight, wherever they walked, it appeared 
as though I was looking at them." 

Although NBC liked this Red Dwarf 
pilot, they also wanted changes made. The 
original creators, Rob Grant and Doug 
Naylor, were brought in to re-jig the con- 
cept, and several cast members were re- 
placed. Joining Leeves and Bierko were 
Anthony Fusco as Rimmer, and playing 
the Cat was a pre-Deep Space Nine Terry 

"I was absolutely shocked when they 
decided to recast." says Leeves. "It hap- 
pened a couple of months after we shot the 
pilot, and by then we knew certain people 
had been replaced, and Linwood was no 
longer there. He said Rob and Doug were 
taking over, and I got a call one day saying. 

'Would you please come in and shoot some 
scenes for a little demo we're going to do 
for NBC?' They were going to use some 
scenes from the pilot as well as some stuff 
from the English version." 

Coming back to shoot new scenes with 
different actors wasn't as rewarding for 
Leeves as shooting the original pilot. "It 
was a bit strange, although it didn't really 
affect how I reacted to them. It wasn't their 
fault that they were given the opportunity 
to be in this. It just didn't feel like the same 
show, plus Robert wasn't there any longer, 
so it was a very different experience." 

Unfortunately, even with several 
changes made, the pilot was doomed to TV 
limbo, never to be seen again. "We waited, 
and then NBC didn't pick us up, but then 
we heard that wasn't the end of it. Univer- 
sal was still shopping it around, plus they 
had two writers from The Simpsons who 
came in specifically because they wanted to 
write Red Dwarf. 

"Then. CBS said they would pick it up 
for six [episodes], and we were told all 
kinds of things. Nobody could agree on the 
changes that had to be made, but I think the 
bottom line was that it was too expensive." 

Jane Leeves has since gone on to bigger 
and better things, but she still remembers 
her brief time on the American Red Dwarf 
as an enjoyable experience. "It was a real 
challenge for me at first, to play something 
like a head in a box and still make it inter- 
esting. The way I saw it. there wasn't any- 
thing I couldn't do as the character. 
Nobody could tell me if I was wrong, 
because my character was absolutely out of 
her mind. I could say anything I wanted to 
say, and justify it. It was totally freeing!" 

—Joe Nazzaro 

STARLOG/December 1995 69 


The line between 

actual & virtual 

realities is the beat for 

a new generation of 



The helicopter sits waiting— sleek, black, 
vicious-looking. Later in the evening, 
with a little computer enhancement, it 
will come crashing through the restaurant 
window, spitting death at the unsuspecting 
patrons. For the moment, however, both heli- 
copter and patrons sit patiently in holding 
areas, awaiting their cues. On the top floor of 
an empty trust company building in Toronto, 
director Rick (Prayer of the Rollerboys) King 
readies a preliminary shot. Cyberteeh P.D.. a 
new feature from The Partners Co.. has only 
four days left in its 24-day shooting schedule, 
and there's no time to waste. 

Producer David (Army of One) Lancaster, 
however, takes time to sit and talk about his 
project. "I saw a rough version of the script 
written by Wynne McLaughlin and Frederick 
Bailey, and I thought it had some potential." 
he says in his quiet Texan accent. "It had 
some psychological intrigue that had to do 
with cloning and its social implications." 

That's right, he's a 
hellraiser, but, 
Lorenzo Lamas 
doesn't have 
needles sticking 
out of his face as • 
Bobby Chase in r 

~m& : 


70 STAKLOG/December 1995 

The film is set in the year 2010. when 
police departments have special, computer- 
ized cybertech divisions to process the mass- 
es of information needed to catch the hi-tech 
criminals of the day. "We couldn't afford to 
go much further into the future." Lancaster 
admits, "but it's part of our approach to the 
near-future. We'll all be wired like nobody's 
business. So, it's not too far removed from 
our own experience. We take that and twist it 
into what could be. Science fiction is about 
re-inventing yourself. 

"We'll have a blur between reality and 
unreality that's manifested in virtual reality 
games, cloning, virtual drugs. A virtual drug 
is something that works on the nerves and 
tricks your brain with the information that 
you're high, but you don't actually get high. 
It's like a nicoderm patch. You slap it on, you 
feel the effects, you pull it off and it's over, 
with no after-effects. The VR games have 
become so real that kids going into them 
think that they got shot, and so they're dying 
of trauma. 

"We also have virtual sex." Lancaster con- 
tinues. "When you think about it. what really 
pushed the advent of the videocassette 

machine? Pomographers. That was a way for 
them to get closer to their subject. That desire 
has always been with us in history. Some of 
the most beautiful paintings in the world are 
nudes. So the ultimate goal is to actually sim- 
ulate sex. to put you in a virtual sex game 
where you can actually be Michael Douglas 
or Sharon Stone in Basic Instinct. That would 
sell a lot of tickets. We never show anyone 
having virtual sex. It's simply alluded to. If I 
were to show you what it would look like, 
well, you remember the cyberspace sequence 
in Disclosure'! They looked stupid. This film 
has more to do with the technology's social 
and cultural effects. 

"It's a cautionary vision of a future," Lan- 
caster continues, "where relationships are 
more rare and more ill-defined because we're 
all connected digitally and we don't have to 

leave the house. We don't have to be in love 
with someone, because you can dial up virtu- 
al sex. We can access a phone line, get into a 
camera and spy on someone. Cybertech P.D. 
has elements that we figured might happen, 
such as the cartel wars, which is basically 
happening in Russia. The black market there 
is becoming so powerful that the USA had to 
send in a special unit to help stop the killings. 
So there's a cross between that and what the 
Internet and the global economy are going to 
do to the world." 

Later, director King elaborates on the 
methods used in the movie to put across a 
convincing view of the future. "On this kind 
of budget [described by Lancaster as "mid- 
range"], you think. 'What is the approach that 
is most appropriate, most interesting and 
most eerie?' Even science fiction pictures that 

have huge budgets, that try to create whole 
worlds, have a lot of trouble. Total Recall, to 
my mind, looked kind of cheesy. Demolition 
Man had the same trouble. To me, Terminator 
is the epitome of a brilliant low-budget film, 
cleverly conceived, all about ideas, a psycho- 
logical story, rather than hardware. 

"My thought," King continues, "was that 
we would try to create a sociological future, 
not that different from the present. There's 
really not that much difference between 15 
years ago and now. Cars are slightly 
more streamlined, houses and furnishings are 
much the same, we wear pretty much the 
same kinds of clothes. The difference is that 
everybody has a computer. People have 
portable computers, CDs. answering ma- 
chines. VCRs, call waiting: it's all accepted, 
where 15 years ago, it wasn't. Years from 
now, things would look very much like the 
present, but certain technological changes 
will have become completely accepted, like 
vidphones and houses that respond to voice 

"It's what people assume that tells you 
about their society, now and in the near 
future. Holograms are a perfect example. 
Advertisers would be the first people to get 
ahold of this kind of technology. We have a 
scene where this guy just had a fight with a 
virtual-reality actress. He left her at his house. 
He walks into a bar and she's sitting there, 
dressed slightly sleazy. He sits down and she 
starts trying to push whiskey. The audience is 

Canadian correspondent, profiled Nigel 
Bennett in issue #215. 

STARLOG/December 1995 71 

thinking. •What's going on here?" He looks at i 
the bartender and says. 'Get rid of her,' and 
she's gone. She was an advertisement. It's an 
easy effect to achieve, telling you a lot about 
the future and capitalism and how this society 
would work, but it doesn't change how cities 
look. We did use some of Toronto's modem- 
looking architecture, though, as well as some 
very destroyed- 

looking places." 

Mean Streets 

Cybertech P.D. focuses on street cop 
Bobby Chase, who suffers the 2010 version 
of post-traumatic stress disorder because of 
his past experiences as a soldier in the Russ- 
ian cartel wars. 

"We took what is essentially a buddy-cop 
story," explains Lancaster, "and we glommed 
that onto a near-future action film, two guys 
trying to deal with the virtual world. One guy 

"He doesn't trust his feelings for her," notes Lamas, whose character experiences side 
effects from a combat drug he took in the Army. 

has had virtual sex 243 times and the other. 
Chase, has never tried it. They argue about it. 
Chase is trying to get closer and closer to the 

Lorenzo (Renegade) Lamas, who plays 
Bobby Chase, takes up the theme. "They have 
this drug called Hellraiser that makes you feel 
indestructible. It was developed by Reginald 
Matthews, played by Chris Sarandon. for the 
Army. They gave it to the troops to give them 
the confidence to go out there and kill people 
without any regard for themselves. My char- 
acter did so much of this stuff that it still 
affects him. making him feel less than in con- 
trol of his life. After his partner and mentor is 
killed in the first act. he 
doesn't have the confidence to trust that he'll 
make the right decisions in a moment of truth. 
He's almost anti-social. The only thing he 
knows is the street, how to be a cop. He was 
trained to suppress, control and contain. 

"He's also romantically involved with this 
[VR] sex-goddess. Pamela Travis, who Kari 

[Beastmaster 2] Wuhrer plays, and he does 
not trust his feelings for her because the drug 
gives him flashbacks, makes him angry and 
so on. I talked about it with my half-brother, 
who's a Vietnam veteran. When he got out of 
the service, he didn't feel whole. He was very 
withdrawn, very absorbed. I used a lot of 
what physically happens to him for my char- 
acter, like the shakes, being startled awake 
from a sound sleep, eyes wide open." 

Lancaster fills out the scenario. "What the 
bad guys. Matthews and Deacon Vivyan 
[Peter Coyote], are trying to do." he reveals, 
"is kidnap Pamela and steal some of her DNA 
so they can make clones of her and sell them 
to people who can do whatever they want 
with them. Once they have Pamela's DNA. 
she becomes disposable. The movie's twist is 
that with all this virtual stuff, you never have 
the real thing, which is the pornographer's 

"Cybertech is the division of the metro- 
politan police that's computer-enhanced. 

These cops never go out of their offices. They 
can watch things, see what's going on in the 
street. Chase's partner is killed and then he's 
partnered with Hiroshi. a computer jock, so 
we introduce a conflict between them as they 
go and search for the bad guys. In one way. 
it's a cliche that the Japanese will dominate in 
the future, but in another, it's reality. Asian 
graduates from M.I.T. outnumber Caucasians 
two to one." 

King discusses the story's evolution. "It 
took a year or two to generate a script that we 
really liked." he reveals. "It had this one final 
scene where Vivyan. the scientist, has created 
a clone of himself as a kind of ego trip and the 
clone kills him . If you clone yourself and then 
shoot the clone, that's not murder. It makes 
the lawyers sing. They can't wait for it. That 
twist was indicative of a direction that the 
script could go. 

"David gave me "open field' to push it in 
the directions that I wanted. Cybertech under- 
went tremendous transformations as we 
worked on it. It turned into a story about four 
people who were damaged by technological 
change and whose mutual vulnerabilities 
work together. The lead woman was original- 
ly simply a movie actress. She became a star 
of virtual reality movies where for an extra 
$60, you can take all the other characters out 
and be alone with her." 

During all this real talk, the camera crew 
have virtually finished setting up in a narrow 
corridor. A soft "whump." later to be made 
into a deafening explosion with sound FX 
sweetening, goes off in an open elevator, and 
immediately, smoke fills the entire floor in a 
thick, white cloud. The crew scurry about. 
Doors are opened, fans turned on, and every- 
one evacuates to the deck outside. The word 
goes around— when the smoke clears, they 
set up for another take. 

"I think special FX are fun." says King, 
chuckling. "Ours are mostly things like going 
into and out of virtual-reality games. They're 
hopefully subtle. We're not just using CGI 
[computer-generated imagery]. It doesn't 

72 STARLOG/December 1995 

"The ultimate goal is to actually simulate 
sex, to put you in a virtual sex game," 
explains producer David Lancaster. The 
virtual star of everyone's dreams is Travis. 

look as good on film as it does on television. 
We use it to supplement live-action footage, 
like this helicopter explosion." 

As the smoke clears, the helicopter — actu- 
ally a remote-controlled model about four 
feet in length — is placed in position and read- 
ied. "The interesting thing for me." comments 
Lamas while he waits to flee the helicopters 
assault, "was the future. There aren't any real- 
ly elaborate karate fights, though I can do that 
stuff. I don't like to repeat myself, so we came 
up with a kind of individualistic attack form 
for the flashbacks to Chase's combat as a sol- 
dier. The character that I play lost his vision in 
a firefight 10 years before, so they gave him 
these lenses that are hypersensitive to light. 
They have a computer screen on them that 
reads a thermal signature of whatever he's 
looking at. The lenses that we chose are very 
bright blue, like an Alaskan Malamute dog. 
but not inhuman. They don't inhibit the emo- 
tion that's coming through the character. That 
was our big concern. So much of an actor's 
tool is in his eyes. I have to take them out after 
four hours and put some drops in.'" 

Good Fellas 

Earlier in the evening, Lancaster com- 
pared Lamas to male supermodel Fabio. "I 
have no concept of that at all." says the young 
actor, brushing back his shoulder-length 
brown hair. "I look in the mirror and I see the 
same face every day. 

"A villain would be interesting to play." 
muses Lamas, "because you're given free 
rein. You can play him crazy, stable: it's wide 
open. In the immediate future, though. I feel I 
belong in action pictures. That's comfortable 
for me. The challenge is to create an action 

"He was trained to suppress, control, contain," reveals Lamas of his character. 

hero who isn 't a stereotypical cardboard cut- 
out. You can do that through your own 
research, or you can talk to the writer and 
maybe add some breadth and history." 

The second explosion goes off. This time 
the crew gets the smoke out faster. King calls 
out his next orders. People move quickly; it's 
dark now. and getting late. As pre-prepared 
salads and entrees are set up carefully on the 
restaurant tables, the extras are herded into 
their seats and coached. FX artist Ted Rogers, 
who will add the computer enhancements to 
the scene, stands behind a black curtain, 
watching through a video monitor as the heli- 
copter maneuvers menacingly against the 
carefully lighted building across the street. 
There is some worry, as the machine had pre- 

"in Los Angeles, 

believe me, 
everybody would 
have been in jail." 

viously proved too heavy and needed to be 
modified. This quiet concern is in sharp con- 
trast to the crew, who stand around chatting 
and laughing at each other's jokes. Afirst take 
fails to satisfy. Another follows, then another 
until finally, the helicopter flies properly into 
position to unleash its surprise. 

At the end. star, producer and director 
each find different things memorable about 
making Cybertech P.D. Says Lorenzo Lamas. 
"I talked to Peter Coyote at great length about 
engines and restoring cars and motorcycles. 
He's quite a gearhead." 

"Time and budget." says producer David 
Lancaster. "You can't go out and just shoot 
television style. You can't leave any scene 
without covering it correctly, getting the per- 
formances that you need. Just to do that with- 
in 12 or 14 hours is a real challenge. You have 
to get six hours of sleep the night before. It's 
like sports." 

Rick King has a different view. "The most 
interesting thing." he says, speaking after the 
movie has finally wrapped, "is how a movie, 
from a lot of names and dialogue on a page, 
comes alive and takes on a life of its own. To 
try and track that becomes like a kayak ride. 
You get in the river and ride it. 

"The most fun," he continues, "was the 
carousel scene at the movie's beginning. The 
evil scientist has set up this children's 
carousel in an abandoned warehouse. It's this 
wild, surreal scene where people are quoting 
[William] Blake, all at night— it was wonder- 
ful. Then, on the last day, we finished around 
1:30 a.m. Everybody just stayed and had a 
spontaneous party on the street behind where 
we were shooting. I guess there's a lot of 
Scottish influence in Toronto because every- 
body had scotch and beer. Around 3 a.m.. two 
bagpipers suddenly appeared and began play- 
ing. One of the makeup girls started dancing 
the highland fling. The police came, but they 
just stayed for half an hour, then drove away. 
It was wild, like a Federico Fellini movie. In 
Los Angeles, believe me, everybody would 
have been in jail." J*. 

SJARLOG/December 1995 73 

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Leading The Tomorrow People into 
adventure is Kristian Scnmid. 


Ordinary kids-brought together by 
their extraordinary powers to combat 
the forces of evil. They are the future— 
the next stage in human evolution. They are 
the tomorrow people. In 1973. producer 
Roger Damon Price brought his future vision 
of humankind to TV screens in a science fic- 
tion series called The Tomorrow People. 
Although originally aimed at children and 
teenagers, the program succeeded in captur- 
ing the imagination of young and old alike 
and ran for eight seasons on British televi- 
sion. With the help of Britain's Tetra Films 
and Thames Television and America's Nick- 
elodeon Television network, the series was 
reborn 17 years later with Price again at the 

This new series picks up where the origi- 
nal left off. While the faces have changed, 
these Tomorrow People of the '90s must con- 
front the same challenges their predecessors 
did, including power-crazed scientists, viru- 
lent plagues and extraterrestrial invaders. 
The revival's third season, recently broadcast 
on both sides of the Atlantic, is. according to 
both critics and viewers, the best yet. 

The group's oldest member, an Australian 
named Adam, succeeds in finding their base, 
a spaceship which is partially submerged in 
the Pacific Ocean. Once aboard, he uses his 
telepathic abilities to contact the other 
Tomorrow People, or Homo Superiors as 
they are known, and to bring them together. 
Recently, a much more conventional method 
of communication— the telephone— coaxed 
Kristian Scnmid from his bed early one 
morning in Australia to talk about his role as 
a savior of mankind. 

"Adam is a bit strange, really." Scnmid 
notes. "He's very wary of people at first, but 
this slowly disappears as the episodes go on. 
Being the oldest, he's the leader, someone 
very sensitive and intelligent. Out of all the 
characters, Adam is the only one who really 
doesn't have a background at all, but. hope- 
fully, we'll find out a bit more about him and 
what he's all about." 

Yesterday's Histories 

Born on November 28. 1974 in Geelong. 
Victoria, Australia. Schmid was only 12 
when he began thinking about an acting 
career. "I enjoyed going to the theater and 
following the careers of actors." he recalls. "I 
also liked getting up on stage at school and 
performing in plays. 

76 STARLOG/December 1995 

"I went to my parents with this idea and 
they said. "Well. you*ll have to go to drama 
school.' which was weekend drama classes. 
They also told me I had to organize it myself, 
ring up for information, arrange for trans- 
portation, all that. My parents are like that, 
which I'm very grateful for. If I weren't real- 
ly interested. I wouldn't have bothered to 
pursue the idea." 

After studying at the Actors' Training 
Studio. Schmid got his first break in 1988 
when he was cast as Todd Landers in the 
Australian soap opera Neighbors. The com- 
bination of sand, surf and sex was an unbeat- 
able formula, and Neighbors became the 
second most watched series around the world 
after Baywatch. How did Schmid go from 
teenage heartthrob to teenager of tomorrow? 

"I was doing a play in England and my 
agent over there said. 'Come along and see 
this rather strange Canadian man. He's inter- 
ested in possibly casting you in some new 
American TV series.' I thought. 'Oh. no. I 
really don't want to be in Days of Our Lives.' 
Nothing against Days of Our Lives, but I had 
already been there and done that. 

"So. I went along to meet this guy. He had 
no idea who I was and I had no idea who he 
was, but I read for him and he gave me the 
job in The Tomorrow People. Later. I found 
out that his name was Roger Damon Price, 
the man who actually founded Nickelodeon. 

"I started doing The Tomorrow People at 
the same time I was doing Neighbors'' 
recalls the actor. "On the same day that I fin- 
ished the play in England. I jumped on a 
plane, went to Florida and the next day start- 
ed filming the pilot for The Tomorrow Peo- 

ple. It took us a week to film and the day we 
finished, I was on another plane back to Aus- 
tralia. I got picked up at the airport by the 
people from Neighbors and taken directly to 
the set to start filming straight away. Need- 
less to say. I was really tired that day!" 

In their opening adventure, the young- 
sters are pursued by a ruthless American and 
his henchmen, who want to harness the chil- 
dren's powers for their own sinister ends. 
Although the original pilot was lensed on 
location in the United States, Price shelved 
most of the footage when they had to recast 
one of the youngsters. As a result, a new and 
expanded pilot was shot in Britain. 

"That first story we originally shot was 
really very well done. It concentrated on 
these kids discovering their teleporting and 
telepathic powers and helping to save the 
world. The episode was originally 45 min- 
utes long, but was stretched out to two-and-a- 
half hours when we had to reshoot the second 
pilot in England." 

Today's Chronicles 

Although the youngsters manage to 
escape from the clutches of Colonel Masters. 
one cast member decided to surrender her 
role. "Kristen Ariza, the American who 
played Lisa, was just about to start at UCLA 
by the time we finished the second pilot. 
When we were ready to start filming new 
episodes, she decided that she didn't want to 
interrupt her studies, which made sense. 
Kristen was great and we all enjoyed work- 
ing with her." 

British actress Naomie Harris (STAR- 
LOG #219) was chosen to replace Ariza. and. 

Schmid plays Adam, the eldest of The 
Tomorrow People, here alongside Naomie 
Harris (Ami) and Christian Tessier 

as Ami, to join forces with Adam, Megabyte 
(Canadian actor Christian Tessier) and Kevin 
(British actor Adam Pearce) to stop "The 
Culex Experiment." When Kevin falls into a 
coma after being bitten by an insect, the 
Tomorrow People discover that an unbal- 
anced scientist named Culex (Jean Marsh) 
has succeeded in genetically engineering a 
deadly strain of mosquito. The youngsters 
must find Culex before she can use a repli- 
cating machine developed by a rival Ameri- 
can scientist (Connie Booth) to mass- 
produce her insects. This particular task was 
one that Schmid accepted with a smile. 

"I love Jean Marsh!" he exclaims. "I get 
in trouble in almost every interview I do 
because I always say I want to marry Jean 
Marsh. She's the best— absolutely wonder- 
ful! Connie Booth [who co-wrote and co- 
starred in Fawlty Towers] was a pleasure to 
work with as well. It's great to have the 
opportunity to work with such talented peo- 
ple because I learn so much from them." 

In the next adventure. "The Monsoon 
Man," the Tomorrow People teleport across 
continents to prevent a powerful Texas busi- 
ness tycoon from using a weather control 
device to destroy Earth's crops. The story 
culminates with a tremendous explosion 
which proved a memorable event to both cast 
and crew. "That scene was shot at London's 
Battersea Power Station around 3 a.m. It was 
a cold, horrible night and pouring down with 
rain. Great fun." laughs Schmid. "I have to 
admit, though, that the end product was very 

Series creator Price took great pains to 
assemble an international cast of youngsters 
for his updated program. Schmid has only 
kind words for his co-stars. 

"They're all great," he says. "Christian 
Tessier was about 15 when I started working 

STEVEN ERAMO, Massachusetts-based 
freelancer, profiled Naomie Harris in STAR- 
LOG #219. 

XTARUOG/December 1995 77 

cuts and scrapes. It looked very convincing 
in the end, but it was pretty awful while we 
were doing it. That shot measured up to the 
final scene in 'The Monsoon Man' at the Bat- 
tersea Power Station, if you get my drift." 

The sleepy English village of Hascombe 
finds itself invaded by "The Living Stones." 
the final adventure of the third season of The 
Tomorrow People. This story was created by- 
writer Lee Pressman to inject a bit more SF 
into the series. Consequently, the teens find 
themselves battling alien pods which take 
control of an entire village. During filming. 
Schmid did have one real-life ally in the 

"My grandmother came out to see us film 
one day," he explains. "I had three hours to 

"Every town in 

England has a pub and 

a lovely lake!" 

"I certainly hope they decide to do more episodes of The Tomorrow People because 
it's a very good show," Schmid says. 

with him, and I think we've developed quite 
a good friendship over the past few years. 
He's a really, really funny guy. a quick learn- 
er and a very well-rounded person. Obvious- 
ly, he's someone who's going to go a long 
way. Of course, he has red hair, which is a bit 
of a problem," laughs Schmid, "but I'm deal- 
ing with it. 

"Adam Pearce is a down-to-Earth kid 
from the English suburbs. He's a bit of a per- 
fectionist—a very hard-working individual 
who wants to get it right." 

And what about Naomie Harris, the only 
female regular? "She is stunning. Naomie is 
probably one of the most beautiful girls I've 
ever seen. She was at school the whole time 
she was filming the series, so I felt really 
sorry for her. She's a very hard worker." 

Tomorrow's Adventures 

In summer 1994. Schmid and Tessier . 
joined Harris in England to begin work on a 3 
third year of the series. The first adventure. | 
"The Rameses Connection," stars the leg- = 
endary Christopher Lee as an ancient Egypt- " 
ian in search of the ultimate power. "I was so = 
nervous about working with him because > 
he's such a huge star," confesses Schmid. | 
"After we would finish a scene, he used to g 
come over to me and start talking about s 
cricket. If it were anyone else I would have ° 
fallen asleep, but not in front of Christopher "■ 
Lee. I would go home at night, after 12 hours 
of work, and read up on the cricket scores so 
I would know what he was talking about the 
next day. He's a very lovely and genuine 

Much of the filming for "The Rameses 
Connection" took place in and around Lon- 
don, including such sites as Greenwich 
Observatory and Westminster Bridge. The 
episode puts Schmid's character, Adam, in 
several tight spots, giving the actor a chance 
to perform some convincing stuntwork. "I do 
most of my own stunts in The Tomorrow 

People!' he reveals. "There are a couple of 
obvious bits where, due to the hazardous 
nature of the scene, it's not me doing the 
stunt. In 'The Rameses Connection.' I did a 
lot of rollerblading through the streets and 
back alleys of London. Those scenes took 
most of the day to shoot and by the end, I was 
wobbling about because my legs were so 

"Adam is a bit strange, really," reveals 
Schmid of his character. "Being the old- 
est, he's the leader, someone very sensi- 
tive and intelligent." 

Another "Rameses" scene that the actor 
vividly recalls is the one in which he and 
Harris are trapped beneath a collapsing pyra- 
mid. "There was all this sand and these poly- 
styrene rocks suspended above our heads, all 
of which they dropped on top of us when it 
came time to film the scene. At one point, 
something hit my ear and it started bleeding. 
We both came out of it with a lot of bruises. 

wait before I was needed on the set. so my 
grandmother and I went for a walk. We had 
been walking for about 90 minutes when I 
turned to her and said, 'We had better turn 
around and head back to the set.' Unfortu- 
nately, I'm not good with directions and we 
couldn't find our way back. By this time, the 
three hours had gone by and all I could think 
was. 'My God! I'm late for my scene! 
They're going to kill me! I'm never going to 
work in this town again!' 

"We eventually found a road and flagged 
down a car to ask directions. Apparently, we 
had walked for miles and miles because the 
driver told me that we were about a 20- 
minute ride from the nearest village. He 
asked me the name of the town we were film- 
ing in, and, you won't believe this, all I could 
tell him was that it had a pub and a lovely- 
lake. Every town in England has a pub and a 
lovely lake" laughs the actor. "I had never 
met this man before and he had no idea who 
we were, but he was nice enough to let us get 
into his car and he ended up driving us 
straight back to where the village was." 

After finishing work on "The Rameses 
Connection" and "The Living Stones," Kris- 
tian Schmid made a brief stop in LA to 
explore career opportunities before heading 
back home to Australia. While he waits to 
hear if further Tomorrow People adventures 
lie in the future, the young actor is keeping 
busy with various theatrical roles as well as 
with more TV work. 

"I certainly hope they decide to do more 
episodes of The Tomorrow People because 
it's a very good show. Our series has just got- 
ten better and better since the original pilot. 
We've had stronger stories and wonderful 
casting; the whole production in general has 
just gone from strength to strength. Also, the 
series is the only one of its kind that treats 
children as they should be treated— as intelli- 
gent individuals. The plots are very compli- 
cated and I know some adults who can't 
follow them. But children enjoy The Tomor- 
row People and it challenges them." -^ 

78 STARLOG/December 1995 


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For 13 years now. my favorite part of this magazine has always 
been something rather simple and sometimes overlooked. No. 
not the page numbers, the story stops or those fascinating clas- 
sified ads. 

I'm talking cartoons here. 

Hey. I really like cartoons. Like most of you. I love both anima- 
tion (often chronicled in the pages of our sister magazine. COMICS 
SCENE) and comic strips. My whole life, it seems, has been spent 

The first day that Luke got his light saber. . . 

You talkin' 
to me? 

You talkin' to 



to me?! 

in quest of daily newspapers, all the better to 
read my favorite comic strips of the various 
years: Al Capp's Li'l Abner (now being loving- 
ly collected in book form by Kitchen Sink), 
Charles Schulz's Peanuts (still breathing), 
Garry Trudeau's Doonesbury (still good), 
lames Childress' Conchy (long forgotten, alas). 
Jeff MacNelly's Shoe (still syndicated). Gary 
Larson's The Far Side (gone but memorable). 
Berke Breathed's Bloom County & Outland 
(sadly ended). Mike Peters' Mother Goose & 
Grimm (still trucking) and Bill Watterston's 
Calvin & Hobbes (unendingly brilliant). 

However, it's cartoon panels, not strips, that 
have always made reading various magazines 
so delightful. Dark aeons ago, for no apparent 
reason, our family was given a gift subscription 
to the old. good New Yorker. What a treat— if 
only for the great cartoons by Charles Addams. 
S. Gross and others. And of course, there's 
Playboy. Isn't that why everyone bought Play- 
boy! For the cartoons —like the ones by Row- 
land B . Wilson, the late B. Kliban and the 
legendary Gahan Wilson. 

Once, in my far-off youth, I even considered 
cartooning as a career, specifically editorial car- 

tooning, to follow 
in the footsteps of 
folks like Pat 
MacNelly, Bill 
Mauldin and 
Herblock. To that 
end, I was my col- 
lege paper's editor- 
ial cartoonist for 
three years, earn- 
ing. I'm sort of 
proud to note, Sec- 
ond Places for Best 

College Newspaper Editorial Cartoon in nationwide competition for 
two consecutive years. 

Ultimately, though, I wasn't as accomplished an artist as my pal 
John Sayers (the Bethany Tower's editorial cartoonist for the next 
three years and a contributor to our Star Trek licensed magazines). 
And jibes about VD. college pranks and educational idiocies soon 
lose whatever luster they may have had. 

My fondness for cartoons resurfaced in a task I've always under- 
taken here. Quite simply, over the last 13 years, I've also served as 
the magazines' Cartoon Editor, selecting about 98%- of all the car- 
toons published in STARLOG as well as 100% of those appearing 

Our contributing cartoonists are a stellar bunch indeed, including 
longtime veteran Mike Fisher (whose computer colorings grace this 
page). Kevin Brockschmidt (much less prolific since he moved to 
Japan), the currently ubiquitous Bob Muleady. Mike Wright, air- 
brush caricaturist John Langton. James D. Kester, Juanne Michaud, 
Jason Yungbluth. W.C. Pope. David Hanson. Panda Khan creator 
Dave Garcia. Tom Holtkamp and others. 

Together, they provide— perhaps not a million or even a hundred 

thousand— but maybe a 
dozen or so laughs 
every issue. And lucky 
me. I get to laugh the 
most. After all, I'm the 
one who decides just 
which of the hundreds 
of submitted cartoons 
are the funniest and 
should get printed, not 
to mention which mix 
of topics should appear 
in any one issue. It's a 
job I love— mainly 
because it always makes 
me smile. 

With any luck, our 
cartoons make you 
smile, too. Or chuckle, 
giggle, snigger, smirk, 
chortle, titter, cackle 
insanely or perhaps 
even guffaw. Me? I just 
q RESIDED DOM'T VET REALIZE THAT think they're funny^ 
S/Irp pIefIrS 6AME-5 IN WHICH THERE'S -David 

A ^op P CMANCE THAT koMEoNE COULD McDonnell! Editor 

GET KILLED. (September 1995) 

The STARLOG Line-Up on sale now: STAR TREK: VOYAGER #4 confers with the series' composers (Jay Chattaway & Dennis 
McCarthy) as well as saga co-creator Michael Piller. . STARLOG PRESENTS #1: EERIE TV collects most of STARLOG s articles on 
The X-Files plus The Outer Limits and The Twilight Zone .. .COMICS SCENE #53 features the art ot Moebius and the end of Neil 
Gaiman's Sandman, while answering the dramatic question," Are Comics Dying?" 

STAR TREK- DEEP SPACE NINE #13 returns with more fourth-season excitement as Michael Dorn and Louise Metcner discuss 
the soace station adventure SCIENCE-FICTION EXPLORER #10 focuses on the legendary Hercules & the warrior woman Xena as 
well as Deadly Games' James Calvert and the mad messiah of Waterworld, Dennis Hopper. . .FANGORIA #148 takes readers From Dusk 
Till Dawn in the vampire West while unleashing Wes Craven to address a Vampire in Brooklyn and Charles Grant, the X-Ftles novelist, 
who writes of its appeal in a special x-essay . . .look for STARLOG #222 at newsstands and magazine outlets December 5. 

82 STABUOG/December 1995 



The premier piece in S.D. Studios' 
upcoming line of super high-quality, 
fully-licensed precision metal replicas 
of movie and television props. 

Production is strictly 
limited to 7500 
replicas world 


NOTE: Non- 
firing replica 
cannot be 
modified to 
fire live 

The James 

Bond film The 

Man with the 

Golden Gun 

introduced movie fans to 

one of the most unusual 

weapons ever to appear on 

the silver screen. A cigarette 

case, lighter, pen and cuff 

link which, when assembled, 

produced a one-of-a-kind 

assassin's pistol! 


To celebrate the 20th 
anniversary of this motion picture, 
l World-Wide & S.D. Studios are 
producing a limited number of 
non-firing precision replicas 
of the Golden Gun. Each 
replica is composed of 
machined brass alloy, heavily 
plated in real 24 karat gold. Like 
the weapon in the film, the four 
components can be assembled into the 
finished gun. A simulated golden bullet, 
engraved with "007," is included and can be 
loaded into the replica. 

Each model is shipped in a beautiful solid walnut 

presentation box, complete with a glass lid emblazoned 

with the 007 logo, brass hardware and a combination 

lock. A package containing assembly instructions, stills and 

rare information about the original film is also included. 

THE MAN WITH THE GOLDEN GUN © 1974 Danjaq Inc. All Rights Reserved. 

Walnut display box with 



^'.'■■■-■.-*^ r 

*W»*r^;' ;^ , ; 

The combination lock is 
pre-set to 007. 

1 JM ' 

The replica can be broken down 
into the main components. 

Even the replica bullet is 
engraved with 007 — 
just like in the film. 


SB75 each 

Please indicate quantity being ordered. 

USA & CANADA: $15 per item. New York State residents add 
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OVERSEAS: $65 per item. (Shipped UPS International.) 

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